Superchick (1973)

The Swinging 70s, 18 March 2006

Superchick is a bad movie lover's dream. The plot is utterly ridiculous. Tara B. True (Joyce Jillson) is, by day, a mild mannered stewardess (they weren't called flight attendants in the 70s) with a secret. Besides the long blond hair she hides under a brunette wig, she's also hiding a man in every city she regularly visits. Tara is a sexually liberated woman looking for a good time. The men she juggles think they are Tara's one true love and each wants to marry her. Tara will have none of that as she enjoys all her men too much to limit herself to one. However, one of her guys is mixed up with some crooks who want to use Tara to help them with their illegal plan.

The plot isn't the only bad thing about Superchick. Joyce Jillson has to be one of the worst actresses ever given this much screen time. She's as unnatural with her delivery as you'll find. And the dialogue she does come across with is painfully bad. These are some of the silliest lines I've ever heard. The film is supposed to be a comedy, but I don't remember laughing at anything that was meant to be funny. The jokes are lame and miss their mark on a consistent basis. Superchick is so bad that my rating (3/10) is probably over-generous.

Fortunatley though, Superchick is one of those movies that's "so bad its good". Much of the plot is soooo bad that it's actually laugh-out-loud funny. The swinging score, with a theme song very reminiscent of The Mary Tyler Moore Show, is catchy. Some of the action sequences are like a car wreck - impossible not to look at. You'll be amazed watching Tara use martial arts that must have Bruce Lee spinning in his grave. It's a riot. Finally, there's plenty of nudity and sex to keep things spiced up.

Overall, it may be a horrible movie, but Superchick is watchable for its ineptness.

5/10

Massacre in Dinosaur Valley (1985)

- Nudo e selvaggio
How can a movie this bad be so much fun?, 17 March 2006

Some may see the rating I've given Massacre in Dinosaur Valley and think I've lost my mind. I'm fully aware that a 5/10 may be too high. In all honesty, the movie is horrible. Tarantini has crammed the film with every exploitation element and cliché you can think of. Massacre in Dinosaur Valley lacks originality, any semblance of good acting, and anything approaching taste. Technically, the movie doesn't fair much better with some really bad looking special effects and poor editing. But if you can get past all the film's shortcomings (as I did), it's a lot of fun for fans of cheese-filled, Italian exploitation type movies. Maybe I was just in the right frame of mind, but I had a great time with it.

Actually, my biggest complaint with the film has nothing to do with the list of previously mentioned problems. My biggest gripe is the "look" of the cannibals. If you've seen Cannibal Holocaust, the Granddaddy of cannibal films, you'll understand what I mean. The cannibal tribes in Cannibal Holocaust look authentic (at least to my untrained eyes). They're dirty, unkempt, and "wild" looking. The cannibals in Massacre in Dinosaur Valley, on the other hand, look like actors. They look like they showered, shaved, and had a fresh haircut on the way to the set. In addition, the cannibal village in Cannibal Holocaust is something completely alien to our modern society. It fits the look of the cannibals. Here, the cannibal village reminded me of one of the headhunter sets from Gilligan's Island. A little more authenticity would have really helped Massacre in Dinosaur Valley.

5/10

The House on Telegraph Hill (1951)

Robert Wise scores again, 16 March 2006

The House on Telegraph Hill is a wonderfully entertaining thriller dealing with a woman living under an assumed identity and the child she claims as her own. The movie may be part of Fox's Film Noir Collection, but it's really more of a Hitchcock "woman-in-peril" type film. The movie may seem unusual when seen today with the modern emphasis on the plot twist. Throughout most of the film, I kept waiting for the inevitable twist that never materialized. The lack of a twist each time I thought I saw one coming was, in its own way, the best twist of all. The House on Telegraph Hill is deliberately paced and shot beautifully by Robert Wise. Some of the interior scenes, especially those in the hallway of the old house, look as good as you'll see. The acting is great with the relative unknown (at least unknown to me) Valentina Cortese giving a real standout performance. She has an undeniable screen presence and the ability to draw a viewer in. I really felt for her character's situation throughout the movie. The ending of the film is very nicely done and had me on the edge of my seat. As I was waiting for a twist, I was completely surprised by the final act. The drama and suspense are almost palatable throughout the film's finale. Overall, The House on Telegraph Hill is a very nice, under-seen film.

8/10

Seven Blood-Stained Orchids (1972)

- Sette orchidee macchiate di rosso

A good representation of what the genre has to offer, 15 March 2006

A series of seemingly unrelated women are brutally murdered. The only clue is the silver crescent moon shaped pendant the killer leaves with each body. After the killer is unsuccessful in his attempt to murder a woman on a train, she begins to put the pieces of the mystery together. With the help of her husband, she begins to suspect that the murders may have something to do with a specific period of time years previous when she and the other victims were connected to the hotel her father owned. But can she solve the mystery before the killer discovers she is still alive and strikes again?

Seven Blood-Stained Orchids is a very solid Giallo. It's not as flashy as some as some other Gialli, but the mystery aspects of the movie are intriguing. Seven Blood-Stained Orchids plays out a lot like an Agatha Christie story with a mysterious event in the past, a few baffling clues, and a red herring or two thrown in for good measure. Sure, there are the natural plot holes you'll find in other movies of this type, but they hardly get in the way of the fun. As you might expect, the movie features a few nasty death scenes including one involving power tools. Finally, the supporting cast includes more than a couple recognizable faces to fans of 70s genre films including Antonio Sabato, Marina Malfatti, Bruno Corazzari, and the always delightful Marisa Mell.

I've always felt that Seven Blood-Stained Orchids would make a good starting point for someone new to Gialli looking for something other than the more well-known films of Argento and Bava. It's a good representation of what the genre has to offer.

8/10

Just Before Dawn (1981)

Calling it "Average" is about the best I can do, 14 March 2006

For whatever reason, I tend to be drawn to these backwoods, hillbilly horror films like a moth to a flame. I can't get enough of them. In this particular sub-genre, I would call Just Before Dawn average. It's not the best I've seen, but it's far from being as bad as something like Midnight (1982). In general, I think these films appeal to me because of their realism. Monsters, ghosts, and other supernatural elements are fine, but even the most basic and mundane of these films ask the viewer to stretch their imagination to some degree. In contrast, we've all heard stories about the crazy inbred mountain people and their distrust of modern society. And while films like Just Before Dawn may take liberties with the extreme violence, there's no denying the real stories of actual murders as a result of this culture clash.

In Just Before Dawn, a group of twenty-somethings makes there way to a remote mountain for a little fun and relaxation. They are warned twice, once by the Forest Ranger and again by a crazed man in the woods, to turn back. Ignoring the warnings, they set up camp and prepare to enjoy themselves. But these woods are home to more than the normal forest creatures. There's a killer on the loose and the group of young adults soon become the target. Sound familiar? This plot description could be applied to about a dozen films I can think of off the top of my head. It's that original.

I look at Just Before Dawn as a case of missed opportunities. There were places the movie could have gone to break away from the standard 80s backwoods, hillbilly horror mold and done something unique. For example, more information on the mountain family and what makes them tick would have been very interesting. Or, more explanation on the killers and how they lived and their motives would have been very interesting. Or, including the subplot involving mountain religions (as suggested in the interview on the DVD) would have been very interesting. But as it is, every opportunity to do something other than have a group of young people stalked through the woods by an unseen, silent assassin is missed.

To be fair, I'll give the movie some credit in a couple of instances. First, I thought it was a nice touch to keep the characters "real". What I mean is that too often in these movies, characters are little more than overdone stereotypes. The characters in Just Before Dawn aren't much different from people I've known. Second, there are a couple of very well done camera shots. For example, the scene of the killer walking through the waterfall in the background as two characters swim in the lake is very subtle and very effective. Third, a couple of the kill scenes rise above what I associate with low-budget 80s horror. The killing of the hunter at the beginning of the movie is very nice.

In the end, it's a shame that the makers of Just Before Dawn didn't take more chances. Had they been willing to push the envelope a bit more, this movie might have been one of the better examples of this sub-genre instead of being merely average.

5/10

The Hills Have Eyes (2006)

A worthy remake, 10 March 2006

I've been a fan of the original The Hills Have Eyes since I first saw it during a midnight showing while in college. I had my doubts about the remake, but as I enjoyed Aja's High Tension more than I probably should have, I at least felt the film was in good hands. I still enjoy the 1977 version more, but my faith in Aja as an up and coming player in horror was not misplaced.

The film is very faithful to the plot Craven used in 1977 - a family traveling cross country finds themselves stranded in the desert and under attack from a mutant family living in the nearby hills. There are a few significant changes (the crater full of abandoned vehicles and the nuclear test city) probably due more than anything to a much larger budget, but these changes actually add even more interest and variety to the script.

There's a lot here to enjoy. The acting is great and definitely an improvement over the first film. I especially enjoyed Dan Byrd and Aaron Stanford's performances over the same characters from 1977. The new film is much more graphic than the first film. Aja doesn't skimp when it comes to showing the blood and gore. Aja has done his best to keep the brutality and savagery from the first film in his remake. And, for the most part, he has succeeded. One complaint I've already read on the internet is the movie is too slow. I completely disagree with that statement. I enjoyed the pacing throughout the film. The Hills Have Eyes may start off slow, but it builds to finale full of violence.

But there are a few areas where I had problems with the film. One thing that bothered me was the treatment of the mutant family. They never felt like real characters as there was virtually no character development within the mutant family. They are just there. I was also bothered by some technical aspects involving camera work and editing. The movies features what I consider to be way too many shots filmed with a hand-held camera and edited in a rapid, MTV style. Maybe I'm just getting old, but there were several moments during the film where I wanted to scream at Aja, "Be still and let me see what's going on". It was too much for me. Also, I thought the exposition was handled rather clumsily. The preaching like exposition given by the immobile mutant felt forced. Finally, and I realize many will disagree, I enjoy the low-budget look of the original. The look helped to give the movie a feeling that anything could happen. In contrast, Aja's film is much more polished looking. I won't go so far as to call it over-produced, but the look of the movie doesn't add as much atmosphere as the lower budget look.

In the end, while I did have problems with certain aspects of the film, overall The Hills Have Eyes is a solid horror film. Fans of the original should be able to find something here to enjoy that doesn't trample all over their memories of the first film.

6/10

The Strange Vice of Mrs. Wardh (1971)

- Lo strano vizio della Signora Wardh
A great example of the genre, 10 March 2006

The Strange Vice of Mrs. Wardh has just about everything a Giallo fan could ask for. All of the necessary ingredients are here: brutal murders, bizarre sex scenes, plot twists, interesting camera work, a nice score, and Edwige Fenech. - Brutal Murders: The killer uses a razor to slash his victims' throats to ribbons resulting in plenty of blood flow. - Bizarre Sex: I don't' know about you but beating the crap out of your partner prior to engaging in sex seems pretty bizarre to me. - Plot Twists: Just when you're sure you finally gotten a handle on the plot and solved the mystery, The Strange Vice of Mrs. Wardh gives you yet another twist to wrap your mind around. - Interesting Camera Work: The Strange Vice of Mrs. Wardh is a great looking film with unusual camera angle and lens choices. Visually, it's very pleasing. - A Nice Score: Even though composer Nora Orlandi's main theme is repeated throughout the film, I never get tired of hearing it. It's a hauntingly beautiful piece that helps set the mood of the film very well. - Edwige Fenech: The Queen of the Giallo.

The plot involves a crazed killer with an eye for women is on the loose. Julie Wardh (Edwige Fenech) is very much afraid because of the direct threats she has received from the killer. She's also convinced the killer is an ex-boyfriend. When the real killer is himself killed, that should put an end to Julie's fears. But it doesn't. The threats against Julie's life continue. I readily admit that there are plot holes big enough to drive a truck through and lapses in logic the size of the Grand Canyon, but that hardly matters when you're having this much fun with a movie. Blemishes and all, The Strange Vice of Mrs. Wardh is a great example of the genre and one of the reasons I keep seeking out these hard to find Italian gems.

8/10

Xena: Warrior Princess "A Day in the Life" #2.15

One of my favorite episodes, 9 March 2006

Not having seen "A Day in the Life" since it initially aired in 1997, I was happy to finally see it again recently as I waded through the Season 2 DVD set. Looking around the internet, this episode appears to be either one of the most loved or most hated episodes depending on which side of the fence you fall. There's not much middle ground. I would place somewhere in my top five favorite episodes. Before "A Day in the Life", I caught Xena from time to time, but it was no big deal. This is the episode that made me one of those can't-wait-until-Sunday-night-for-the-new-episode kind of fans.

"A Day in the Life" stands out as being unusual when compared with most of the other Xena episodes. The action and fighting are relegated to a sub-plot. As the name implies, "A Day in the Life" focuses on the everyday lives of Xena and Gabrielle. Everyday tasks like sleeping, cooking, and even going to the bathroom take center stage. To give it a more natural look, hand held camera are used to get that reality TV look. Little things like Gabrielle fussing about a bent frying pan or Xena and Gabrielle kicking each other as they walk down a path or Xena catching fish for a meal make you feel like you've gotten some insight to what makes these characters tick. It's different, it's funny, and it's one of my favorites.

9/10

The Hardy Boys/Nancy Drew Mysteries "Mystery of the Fallen Angels" #1.10 (1977) (TV)

A memorable cast, but that's about it, 8 March 2006

I recently finished watching "The Hardy Boys/Nancy Drew Mysteries" Season 1 DVD set and boy oh boy did it bring back memories. This particular episode may not have been the best, but it's one of the more memorable from the first season. The fact that it's memorable has nothing to do with the actual plot (it happens to be one of the weakest of the bunch), but instead, it's memorable for the cast. A pre-Halloween Jamie Lee Curtis and a pre-Nightmare on Elm Street Robert Englund have supporting roles. From what I could tell, there's not much here to suggest the pair would go on and have the careers they've had.

As for the episode itself, a wealthy couple hires a traveling carnival to help them put on a charity benefit. During the night, someone breaks into a safe and makes off with a fortune in jewelry. The carnival workers are immediately suspected. Nancy tags along to their next gig and, posing as a runaway, gets a job so she can investigate from the inside. As I said, it's one of the weakest episodes form Season 1. It's far fetched and features some of the lamest motorcycle action sequences put on tape. The series generally works better when the plots deal with ghosts and other mysterious happenings.

4/10

Death Walks at Midnight (1972)

- La morte accarezza a mezzanotte
Something of a letdown, 8 March 2006

During an experiment with a hallucinogenic drug, model Valentina (Nieves Navarro aka Susan Scott) sees a woman being brutally murdered by a man wearing a spiked iron glove. But when no body is found, she can't seem to get anyone to believe her story. She begins to see the killer everywhere she goes. She's sure her life is in danger and is unable to convince her friends or the police that she's being stalked by a vicious murderer.

I had high hopes for Death Walks at Midnight having just seen and enjoyed Death Walks on High Heels. The two movies have so much in common that it seemed like a sure thing. While not being a sequel, the two movies share a director, a number of actors, and a convoluted plot. But while I found the twists and turns in Death Walks on High Heels a joy to watch unfold, Death Walks at Midnight is a little too convoluted for its own good. Story lines are introduced and almost dropped immediately with no resolution. These story tangents have nothing to do with the plot other than muddying the waters. Characters are introduced with no background information and almost immediately forgotten about. Too many of the characters never seem "real" or fleshed-out and are not effective red herrings. And, I almost get the feeling that much of the movie is weird for the sake of being weird. There's no real purpose for many of the unusual events, people, places, etc. in Death Walks at Midnight other than adding some bizarreness to the proceedings. For example, why even have the asylum scene? It adds nothing to the film. The problems with the plot are really disappointing because not only did I enjoy the first movie, but Death Walks at Midnight's screenplay was written by Sergio Corbucci. Corbucci directed some of my favorite Spaghetti Westerns. But here, he's written what I'll describe as a spastic script that tries too hard to be different.

That's not to say the movie was a total waste of time. There are a number of things I really enjoyed about Death Walks at Midnight. First would have to be Nieves Navarro. As I said when writing about Death Walk on High Heels, Navarro is excellent in this kind of film. She's a natural playing the "Woman in Distress". Navarro has a real, undeniable screen presence. Second would have to be the spiked glove. It's as nasty a murder weapon as you'll see. Finally, I like the overall look of the film. Ercoli had a real eye for some interesting visuals.

In the end, I can't wholeheartedly recommend Death Walks at Midnight to anyone other than a die hard Giallo fan. There are far better, more entertaining examples of the genre that might appeal more to the casual fan.

5/10

Death Walks on High Heels (1971)

- La morte cammina con i tacchi alti
More plot twists than a mountain road and boatload of red herrings., 7 March 2006

A jewel thief is brutally murdered on a train by a masked assailant. But when the murderer is unable to locate any diamonds, the murderer immediately suspects that the thief's daughter, a Parisian stripper named Nicole (Nieves Navarro aka Susan Scott), may have the diamonds. Nicole, however, claims to know nothing of the diamonds. After a series of threats, both verbal and physical, Nicole decides to flee France with a man she hardly knows. The pair begin a seemingly ideal relationship in a secluded seaside village. But Nicole is unaware that the killer has followed her to England and will stop at nothing to get his hands on the diamonds.

What a fun Giallo! Death Walks on High Heels has one of the most convoluted plots I've run into – even by Giallo standards. While the movie may lack the quantity of murder scenes found in other Gialli (although at least one murder scene is as violent as they come), Death Walks on High Heels makes up for this shortcoming with more plot twists than a mountain road and boatload of red herrings. It had me guessing (incorrectly, I might add) up to the very end. It's all about the mystery and director Luciano Ercoli skillfully casts the shadow of suspicion on just about everyone in the cast. Much of the movie is told quite nicely in flashbacks with bits and pieces of the story being revealed as each person confesses to what they may or may not have seen. There's even a pair of bumbling Scotland Yard detectives who are (surprise, surprise) actually funny. Overall, Death Walks on High Heels is very well done.

The acting is a notch or two above what I've come to expect in a Giallo. The highlight, at least for me, is Nieves Navarro. She is amazing as Nicole. I didn't think I would ever say this, but I think she might have been capable of challenging Edwige Fenech in my mind as the Queen of the Giallo had she made a few more of these movies. I'm looking forward to checking out more of her work.

As much as I enjoyed Death Walks on High Heels, it's not without its flaws. Chief among them, at least to me, is a "cheat" with respect to one of the murders. I don't want to give anything away, but there is one particularly nasty murder that the killer could not have committed given the circumstances immediately following the murder. Hopefully, with repeat viewings, I can reconcile this point in my mind and just enjoy the movie for what it is.

Finally, and I'm really starting to sound like a shill, NoShame's new DVD is fantastic. I would have never dreamed that a movie like Death Walks on High Heels would look this good. Bravo NoShame!

7/10

The Adventures of Hercules (1985)

- Le avventure dell'incredibile Ercole
And I thought Hercules (1983) was bad., 6 March 2006

The Adventures of Hercules has to be one of the lamest excuses for a movie I've yet run across. You would have to look far and wide to find anything that approaches the level of ineptness on display in this movie. Acting – Bad. Editing – Bad. Direction – Bad. Special Effects – Bad and Laughable. Plot – Bad. Lighting – Bad. Cinematography – Bad. Costume Design – Bad and Silly. Everything Else – Bad. Watching The Adventures of Hercules is about as enjoyable as a root canal. Even for a fan of bad movies, it's a real endurance test. This is one for either masochists or Lou Ferrigno completists (if any exist).

Eight things I learned from watching The Adventures of Hercules:

1. If you don't have the budget for real special effects, rotoscope a scene from the previous movie. It will look great - trust me.

2. When on a quest to recover Zeus' thunderbolts, take time for frequent stops to oil-up you body. It worked for Ferrigno and his two Amazon companions.

3. Any sword fight, use of magic, and just about all other day to day activities in ancient Greece created a sound very similar to a game of Pac Man or Asteroids.

4. Some of the ancient Greek gods dressed like extras from Star Wars.

5. If you need to pad your crappy movie's runtime, extend the title sequence by adding Star Trek style credits and throw in some overly grandiose music. It also helps if you've got a previous movie to pull scenes from.

6. Fight scenes move along much smoother if the bad guys attack Hercules one at a time.

7. William Berger did anything for money.

8. I didn't think it was possible, but The Adventures of Hercules makes the first film, Hercules (1983), look like an Academy Award winner.

1/10

The Abominable Snowman (1957)

"They are in danger, all of them, from their own actions.", 5 March 2006

The Abominable Snowman treats its subject matter with the kind of respect usually reserved for something far more serious than a low-budget film about the mythical Yeti. It would have been easy to allow the whole production to sink to the level of exploitation, but it never does. The horror is subdued and really only surfaces in the final act. The movie is not without its creepy moments as the men fear for their lives in an alien landscape of ice and mountains. The remainder of the intelligent script focuses on the relationship between the scientist and the showman and asks the question "Who is the real monster?"

The Abominable Snowman is an unusually subdued movie from The Studio that Dripped Blood. Released the same year as The Curse of Frankenstein and a year before Horror of Dracula, The Abominable Snowman lacks the garish colors and the bright red blood that helped to make Hammer so famous. It may lack what I call the Hammer Color, but it's one of the best looking Hammer films I've seen. It was filmed in beautiful black and white and the cinematography is stunning. The stage-bound sets are some of the best I've seen. When combined, these elements create the perfect, frigid look and setting for The Abominable Snowman.

Director Val Guest made the wise decision to keep the Yeti off-screen as much as possible with only a glimpse or two in the shadows. It would have been difficult, given the budgetary constraints, to create realistic looking Yeti that could have withstood too much on-screen scrutiny. Anymore screen-time and the Yeti would have probably come off as cheesy as the title character in Hammer's The Gorgon.

And I can't say enough about the acting. Everyone involved is excellent. You can always count on Peter Cushing to deliver the goods and he's at the top of his game in this film. It's a shame that his genius isn't more well known outside of horror circles. Forrest Tucker makes a great foil for Cushing. The two men make the perfect "Odd Couple". The rest of the cast is equally believable and more than up to the challenge.

8/10

2019: After the Fall of New York (1983)

- 2019 - Dopo la caduta di New York
In search of fertility, 5 March 2006

In the sub-genre of post-apocalyptic action films, 2019: After the Fall of New York is pretty much an average example. The plot makes sense within the framework of the film and provides the film's heroes with a legitimate reason to go on their mission into enemy territory. In some of these films, the heroes go on these missions for the most ridiculous of reasons with a totally unbelievable object/device/rock/etc. as their goal. The idea of tracking down the last fertile woman on the planet to use in repopulating the planet is better than most. I'm not going to go so far as to call it an intelligently written script, but I've seen a whole lot worse.

As I wrote previously, 2019: After the Fall of New York is an average example of the 1980s post-apocalyptic films. As most all of these films take their "inspiration" from The Road Warrior and Escape from New York, none of them stray very far from the norm. 2019: After the Fall of New York has the same bad special effects, the same Flock of Seagulls wardrobe, and the same perfectly chiseled, but ultimately dull, hero you can find in any of these movies. But, even with the predictability and other shortcomings, it's a fun watch.

5/10

Horse Feathers (1932)

"I was gonna get a flat bottom but the girl at the boat house didn't have one.", 5 March 2006

While I enjoy almost everything the Marx Brothers made (Love Happy being the exception), Horse Feathers is a particularly good example of their comedy. The plot, such as it is, has Professor Quincy Adams Wagstaff (Groucho) becoming the president of Huxley College. Being more interested in football than academics, Prof. Wagstaff lures two would be football players (Chico and Harpo) from the local speakeasy to play for his team. The boys set about beating their arch-rival with their unique brand of football. In reality, the plot is little more than a device used to string together a series of some of the Marx Brothers' best gags. The Swordfish scene at the speakeasy and the Introduction of Wagstaff scene are two of my favorites.

The boys were at the top of their game in 1932. The comedy was fresh, irreverent, risqué, and hilarious. If you're a fan, you'll note a few bits that were recycled in later Marx Brothers' films. And, if you're a fan, Horse Feathers is one that shouldn't be missed.

9/10

Kiss of Death (1947)

"You know what I do to squealers?", 4 March 2006

Small-time hood Nick Bianco (Victor Mature) is sent up the river for a jewel heist. He refuses to cooperate with the D.A. and will not turn stool-pigeon on his pals. But after he learns of his wife's suicide, he changes his tune. He's got to get out of jail to take care of his two little girls. The D.A. agrees to help Bianco if, in return, Bianco will help the D.A. Bianco fingers Tommy Udo (Richard Widmark) for a murder and even agrees to testify at the trial. But, when Udo is acquitted, Bianco knows he's a marked man – as are his new wife and his young daughters.

Kiss of Death is a solid entry in the crime/noir cycle of the 40s. The movie looks good, has some great acting, an intelligent plot, characters you can care about, and enough twists to make it all very interesting. But instead of writing at length about the acting or technical aspects of the film or plot twists or anything else, I'll limit this to a few comments on Richard Widmark. If you look over Widmark's filmography, you'll notice that Kiss of Death was his very first film. Now I haven't seen everything Widmark made, but based on what I have seen, his portrayal of Tommy Udo has to be the performance of a career. He's brilliant as Udo. You can see the evil in his eyes. He's the kind of guy who would just as soon put a bullet in you as look at you. And that maniacal laugh – it's nothing short of chilling. This is not meant to be hyperbole when I say that he's the quintessential 40s hood played to perfection. I've seen a lot of noirs in recent weeks and I don't think I've seen a performance or character that I've enjoyed more than Widmark's Tommy Udo.

8/10

Wishing Stairs (2003)

- Yeogo goedam 3: Yeowoo gyedan
Not quite up to the level of the first two films in the series, 4 March 2006

Yeogo goedam 3 (Wishing Stairs) is a sequel in name only. Other than the setting of the film (an all-girl's school in Korea), it has very little to do with the other films in the series. In this one, there is a staircase on the school grounds that the students believe is magical. The staircase has 28 steps. When you reach the top, if a 29th step appears, it will grant your wish. When one of the girls is killed in a fall, another of the girls uses the magical staircase to wish her friend back to life. But she gets more than she bargained for.

As with the other films in the series, Wishing Stairs is very well made. The directors of this film are able to get some very nice performances out of the mostly unknown and unexperienced cast. Technically the film is very sound with some nice cinematography as the highlight. The special effects are well done and help create some very creepy moments. Overall, it's a nice installment to the series.

But, I haven't rated Wishing Stairs as high as I did the previous two films. Why? It's a little too formalistic and unoriginal. One of the elements that made Wishing Corridors and Memento Mori memorable is the subtle use of horror. In contrast, the horror is more obvious in Wishing Stairs. At times it seems like one set piece after the next with nothing of substance pushing the plot along. As for unoriginal, if you've seen Ringu, you've seen one of the big moments in this movie. Wishing Stairs has a very pale girl with long black hair crawling in jerky motions through a window. Sound familiar?

6/10

The Candy Snatchers (1973)

70s exploitation doesn't get much better than this, 4 March 2006

As she walks home from school, Candy (Susan Sennett) is kidnapped by three small-time criminals looking to make the big-time. Their plan is to hold Candy for a fortune in diamonds from the store her father manages. But when Candy's father doesn't make it to the drop-off point, things go from bad to worse for Candy.

Going into The Candy Snatchers, I wasn't expecting such a competently made, entertaining film. It's a masterpiece of 70s sleaze and exploitation. Candy's ordeal is brutal and, at times, difficult to watch. The scenes of Candy being buried alive with only a one-inch pipe for air are so real that you can't help but feel for the bound and gagged Susan Sennett. The script is surprisingly intelligent and presents some nice twists involving Candy's father (played to perfection by Ben Piazza) and his reluctance to meet the ransom demands. The script also goes out of the way to flesh-out the three would be kidnappers and gives us an insight into what makes them tick. Finally, I love the ambiguous ending as to Candy's fate. It gives you something to think about long after the movie has ended. The Candy Snatchers is very nicely done.

There's also a subplot involving a very young mute boy and his abusive parents. As bad as I felt for Candy and her predicament, I felt equally bad for little Sean. The events in the film's finale involving the little boy are amazing in their simple, but violent nature. Sean was played by the director's son, Christophe. I don't know when I've seen a better, more believable performance from someone so young.

If you're a fan of 70s drive-in fare, you must seek out The Candy Snatchers.

8/10

Nightmares Come at Night (1970)

- Les cauchemars naissent la nuit
Even by Franco's standards, this movie is a bore, 4 March 2006

When things go bad in a Franco film, they really go bad. Even by Franco's standards, Nightmares Come at Night is a total bore. The plot deals with a woman who may be going insane. She has reoccurring dreams of killing people and cannot distinguish what's real and what's part of her dreams. But the plot is secondary to Nightmares Come at Night's primary purpose – show as much pointless nudity as possible. Most of the movie consists of Diana Lorys walking around with little or nothing on. I felt like screaming "Do Something!" at the screen. And it doesn't help that it's filmed in the most unimaginable way possible. To make matters worse, Franco introduces a diamond heist subplot in the final third of the movie and gives it little more than lip service. It adds nothing to the film.

When you pick up the DVD, you would understandably think that Soledad Miranda was the star of Nightmares Come at Night. I mean it's her face on the DVD cover. However, as was the case with Lina Romay in Franco's The Erotic Rites of Frankenstein, Miranda has only 10 minutes of screen time. Plus, she has no connection with anything else in the movie. Her scenes were obviously filmed at a different time and location from the rest of the film.

2/10

Guyana: Crime of the Century (1979)

Cardona Does Jonestown, 1 March 2006

If you take a look at Rene Cardona Jr.'s credits, you'll quickly discover that he jumped on every bandwagon that passed by. Tintoera is his Jaws "inspired" film. Cyclone is his cash-in on the disaster movie boom. The Bermuda Triangle is his link to the unexplained mysteries craze of the 70s. And I'm sure you can find similarities between Cardona's The Treasure of the Amazon and either a Hollywood movie like Romancing the Stone or a watered-down Italian cannibal film. With Guyana: Crime of the Century, Cardona wasn't trying to rip a movie, but instead choice to latch onto the coattails of one of the biggest news stories of the 70s – Jim Jones and the People's Temple.

Compared with Cardona's other films I've seen, Guyana: Crime of the Century comes off as a much more serious work. Cardona appears to be going for fewer of the exploitation elements he loaded his other films with and, instead, is going for something more true to life and realistic. Don't misunderstand, there are scenes of exploitation in Guyana: Crime of the Century, they are just not played to the max the way they are in something like Tintoera. Being based at least somewhat on an actual event, Cardona was handcuffed by the reality of what actually took place in the jungles of Guyana. As a result, this movie is not as "fun" as Cardona's other films. Much of the first 2/3 of the film is very slow with little more to enjoy than the wild, crazed dialogues of the good reverend. The last 1/3 does pick up the pace, culminating with a satisfactory finale that is very well done by Cardona's standards. It's a moving and fitting end to the film.

In addition to comparing Guyana: Crime of the Century with his other works, I can't help but compare Cardona's movie with the 1980 TV movie Guyana Tragedy: The Story of Jim Jones. I haven't seen the TV movie in a decade or more, but I remember it being a better made film that probably sticks to the truth of what happened at Jonestown better than Cardona's movie. Also, the 1980 film stars Powers Boothe as Jim Jones. His portrayal of the crazed leader of the doomed cult is light-years ahead of Stuart Whitman's turn in the role. Boothe delivers an incredibly powerful (pun not intended) and believable performance.

Speaking of Stuart Whitman, Guyana: Crime of the Century is filled with over-the-hill, past-their-prime actors in most of the major roles. Whitman was the youngest at 53. Yvonne De Carlo was 57. Gene Barry was 60. John Ireland was 65. And Joseph Cotton was the oldest at 74. For Cotton, Guyana: Crime of the Century is about as far away from Citizen Kane as you can get.

5/10

The Stepford Wives (2004)

"Oh, I feel like Nancy Drew in the mystery of the mid-life crisis.", 27 February 2006

What a mess! The remake of The Stepford Wives takes everything that made the original such a good movie and throws it all away. Instead, the movie goes for comedy and generally misses its mark at every opportunity. I'll admit that I did find myself smiling and almost laughing at a couple of scenes, but they are too few and too far between. And when the funniest bit in the movie is a 10 second Christmas sing-a-long, you can probably get an idea of how lame I found most of the comedy.

But the biggest problem I see is a lack of any sort of realism. I understand that with comedy it's often necessary to stretch believability. But The Stepford Wives attempts to inject realism by also being a drama, a thriller, and a sci-fi movie. It's none of these. There's no drama when the movies main plot point is beaten to death within the first 15 minutes of the movie. The mystery of Stepford in this remake doesn't exist. As for being a thriller, The Stepford Wives is the kind of movie that all along you just know everything will be fine in the end. What kind of thriller doesn't at least make you think someone may be in danger? Finally, most of the sci-fi elements are presented in cartoon format. How can you take that seriously?

In the end, other than a very few moments of comedy, this thing is a stinker.

4/10

It Can Be Done, Amigo (1972)

- Si può fare... amigo
What a bizarre plot!, 27 February 2006

I would love to briefly explain the plot of It Can Be Done, Amigo, but I don't think I'm capable. It almost defies words with its bizarreness. I'll give it a stab though. Bud Spencer is Coburn, the opposite of what I normally associate with the hero of a Spaghetti Western (SW). He's miles away from the image of the svelte Man with No Name. Coburn is a big man who looks like he may crush the horse he rides. He doesn't carry a gun, but relies on his powerful fists to defend himself. He is entrusted with safely delivering a young boy to his home after the boy's uncle dies. The trip won't be easy as hot on Coburn's heels is a wagon carrying the woman (Dany Saval) who insists on marrying Coburn, her brother (Jack Palance) who wants to kill Coburn, and the brother's traveling brothel. Once Coburn and the boy reach the boy's home, it seems that everyone in town, including the town's Mayor/Sheriff/Minister, is anxious to get it away from him, whether by buying it or killing to get it. Coburn's got to figure out a way to help the boy keep his land all the while staying one move ahead of his betrothed, her brother, and the Mayor/Sheriff/Minister who will stop at nothing to get the homestead.

Whew! That was difficult. But as confusing and crazy as the plot may sound, in the end, it all makes sense. Bud Spencer, as he proved in his many films with Terence Hill, has a flair for comedy and most of it works. Sure, there are a few misfires along the way, but you can generally count on Spencer to deliver. I cannot say the same for Jack Palance. Unlike almost every other review I've read on It Can Be Done, Amigo, I don't care for Palance in this film. His constant grimaces and sneering really didn't work for me. The rest of the cast is okay with Dany Saval giving a standout supporting performance.

As much fun as I had with parts of this film, I can't rate it any higher because of the sluggish first act. The movie starts off at a snails pace and I was really worried I might fall asleep if something didn't happen soon. A little better pacing throughout It Can Be Done, Amigo might have gone a long way to making this a truly memorable SW.

5/10

Esther and the King (1960)

What does it say about a movie when Joan Collins is one of the best things its got going for it., 26 February 2006

Esther and the King may appear unusual if you take a look at the usual things I write about. But because Mario Bava was so heavily involved with the film, I just had to give it a go. While the visuals may not be as vivid and exaggerated as some of the films he had more control over, you can see his influences if you look closely. There are several scenes that demonstrate Bava's use of color. One very brief scene early in the film shows the palace guards turning a wheel to close the gates. This scene that lasts less than 10 seconds is lit in very dramatic style with a wash of green and red. It's trademark Bava.

As for the film, I really didn't expect to enjoy it as much as I did. Oh, it's not great by any stretch of the imagination. Esther and the King was part of the flood of Biblical epics that were made in the late 50s to early 60s. Actually, Esther and the King should be called a mini-epic. It's not as sprawling or grand as the big budgeted Hollywood epics. The sets look cheap in comparison and there are no great action sequences. The first half of the film drags by at a snails pace. The final thirty minutes do provide a little suspense and save Esther and the King from becoming a total waste of time. I'm not even going to discuss how well the film follows the Biblical story as that's a topic best covered elsewhere.

I've never cared for Joan Collins, but here she's quite good. I found myself believing in her character and rooting her on. Another standout to me is Sergio Fantoni as the evil Haman. The man plays a bad guy to perfection. The rest of the cast is serviceable but not spectacular.

5/10

The Pink Panther (1963)

"Take your filthy hands off my asp!", 25 February 2006

Reading through the various reviews on the internet, including those on IMDb, it's obvious that many consider the original The Pink Panther either among the best of the series or among the worst of the series. I'm one of those who considers it the very best. What does it have that the others lack? The quick answer is style. The movie is filled with the best style the 60s has to offer. The Pink Panther is full of sophisticated people in luxurious locations partaking in lavish parties and holidays. These are the jet-setters with money to burn who understood the importance of carrying themselves properly and looking smart.

Other areas where The Pink Panther excels in comparison with the sequels are plot, acting, and the handling of Inspector Clouseau.

- Plot – Unlike the sequels that follow, The Pink Panther has a fairly interesting heist plot at its core. The movie doesn't rely totally on slapstick. Take the first sequel, A Shot in the Dark, as an example. The plot in that movie is so thin as to be transparent. And, the further along you go in the series, the thinner the plots become.

- Acting – The Pink Panther has four leads that add their own wonderful elements to the film. Peter Sellers isn't asked to carry the film on his own. And, surprisingly, even though the movie features Sellers, David Niven, and Claudia Cardinale (names that should be familiar to many movie fans), it's the more unknown Capucine who gives my favorite performance. She's brilliant in the role of Clouseau's wife.

- Handling of Clouseau – If you can't tell from what I've already written, I'm not the biggest fan in the world of the sequels to The Pink Panther that focus almost entirely on Clouseau. Sellers is good as Clouseau, but I can only take him in moderation. In The Pink Panther, Clouseau is not the primary focus. The decision to allow Sellers to play a more subdued Clouseau was a good one.

7/10

Columbo "Double Shock" #2.8 (1973) (TV)

Twice the Landau = Twice the Fun, 24 February 2006

As far as episodes of Columbo go, Double Shock is neither the best I've seen, nor is it the worst. It rests firmly in the middle. On the positive side, this episode presents a nice change-of-pace from the norm. In every other Columbo I've seen, not only do you know how the murder was committed, but you know beyond a shadow of a doubt who the killer is. Double Shock is a real mystery. It's not until the final reveal that crucial elements of the murder and the identity of the murderer are revealed.

But, there are negatives. Far too much of Double Shock's runtime is made up of scenes that have nothing to do with advancing the plot. Columbo often goes off on tangents, but he does so to prove a point or discover something about a suspect. Not here. Scenes like those where Columbo argues with the housekeeper or where Columbo appears on a cooking show have nothing to do with the meat of the story. Columbo gains nothing making these scenes pointless.

6/10

Zombi 2 (1979)

Much better the second time around, 24 February 2006

I saw Fulci's Zombi 2 a number of years ago and didn't really care for it. I suppose that at the time I didn't quite understand Italian horror and its excesses. Having re-watched it last night at the insistence of an internet friend, I've done a 180 and completely changed my opinion. While I don't think it's one of the greatest horror movies ever made or even the best thing Fulci did, Zombi 2 accomplishes what it's intended to do – create a sense of real horror in the viewer. Zombi 2 has some of the most undeniable atmosphere I've seen. The atmosphere hangs on everything like the humidity of the movie's setting. There is a real sense of dread running throughout the movie that only grows with each passing frame. It's the kind of movie that you can feel deep down in your gut, twisting your insides with unrelenting horror. This is what a good horror movie is supposed to do – keep you on the edge of your seat, drawing you into the film, and making you want to look away at the same time. Very nicely done, Mr. Fulci!

So what affected me this time that didn't the first time I watched Zombi 2? I could give several answers, but I'll limit this to two key areas where this movie really excels. First, the special effects, as low-budget as they are, work almost flawlessly. I've always thought that for the make-up in something like Zombi 2, cheap effects generally work better than state-of-the-art CGI type effects. There's just something about seeing actual, real, physical hunks of flesh being ripped off of a victim or a zombie decomposing in front of your eyes. It has weight and substance – something lacking in modern day over-bloated special effects.

The second area where Zombi 2 really works is the score. Every note and every sound fits perfectly with the on-screen action. The music enhances the film's mood to perfection. Feelings of horror and terror on the part of the viewer are enhanced by the score. It's easily one of the most effective I've seen recently.

8/10

The Fear Chamber (1968)

Poor Old Karloff, 22 February 2006

Poor, old Boris Karloff. Reduced to appearing in a string of wretched Mexican horror films just before his death. I'm not sure what made him decide to do it, but this is not the way for a horror legend to go out. Fear Chamber is plain old bad. The plot makes little or no sense at all. Scenes and character seem to exist in a vacuum in that things happen that have no relation to what came before or what comes after. The cinematography and editing are shoddy. The acting is abysmal. Suffice it to say that everything I could mention is horrible. The reason I haven't rated the film any lower and the only reason to watch Fear Chamber is the curiosity value.

2/10

Memento Mori (1999)

- Yeogo goedam II
"On your lips I've smelled the blood, that touches my tongue.", 22 February 2006

Although the Korean name for Memento Mori would lead you to believe it is a sequel to Whispering Corridors, other than the setting, the two films have very little in common. Having seen the first film is not a requirement to see and enjoy this film. The story in Memento Mori involves a love affair between two students at an all-girl's school. One of the girl's, for various reasons, can't take it when the other girl "outs" their relationship and decides to break things off with tragic consequences. A third girl finds the diary the two girls wrote together and, through its pages, begins a horrifying journey to understand what happened to her classmates and how one of them could end up dead.

Regardless of how Memento Mori has been marketed to American audiences, it's not a horror movie. Instead, it's a poignant look at young love and the consequences taken to the extreme of a relationship that doesn't work out. Sure, there are moments of terror to be found in the movie, but even in what should be the final chilling moments of the movie, the horror is never as front and center as the drama. It's not a movie for those who demand a new adrenaline rush every five minutes. Memento Mori moves slow and allows you to get to know the characters, their fears, their problems, and to really develop a sense of caring for them.

I haven't rated the movie any higher because this type of film and this subject matter don't appeal to me on an entertainment level regardless of how well made the film is. As with the majority of the other Asian films I've seen recently, Memento Mori is technically very sound. The direction and cinematography are solid. The movie presents numerous uniquely filmed scenes that really standout. Although the special effects are used sparingly, they are very realistic when employed. The music is fitting for a movie like this. And the acting is rock solid.

One question that has bothered me after having recently watched both Whispering Corridors and Memento Mori is: Do teachers in Korea really treat their students in the manner presented here, with physical and emotional abuse? I'm not saying it's right or wrong, it's just now what I'm accustomed to seeing in teacher/student relationships.

7/10

Who Done It? (1942)

One of my favorite A&C films, 21 February 2006

I've been an A&C fan since I was very young. Back in the early 70s, one of the local television stations featured a steady diet of their films each afternoon. I can't remember if Who Done It? was part of their rotation, but I now consider it among my two or three favorite A&C films. A&C were at the top of their game at the time this movie was made. And even though the boys were already recycling material from their other films as early as 1942, the comedy stills feels fairly fresh and innovative. Some of the comedy highlights for me in Who Done It? include the "Limburger Cheese" and "Two Dimes for a Nickel" skits. Both work really well.

In Who Done It?, the boys find themselves mixed-up in a murder at a radio station. And that is precisely why I'm such a fan of this movie – the murder mystery. I'm a real sucker for 40s murder mysteries. I might have actually enjoyed the movie even more had the comedy been cut back and the mystery been given even more of a spotlight. As it is, some of the meatier aspects of the story are given little more than lip service and keeps me from rating Who Done It? even higher than I already have.

Another key ingredient to the success of Who Done It? is the supporting cast. Anytime you see Mary Wickes name listed on a cast roster, you know she'll deliver a solid performance. She may not have been much to look at, but she was a great character actress with wonderful comedic timing. The rest of the supporting cast is above average with performances by Patric Knowles, Louise Allbritton, and William Bendix worth mentioning.

8/10

Beast with a Gun (1977)

- La belva col mitra
"He wants me dead! He wants me dead!", 20 February 2006

Four escaped convicts, led by Nanni Vitali (Helmut Berger), go on a killing spree. Their main target is the man who turned them in. After he's murdered, Nanni kidnaps his girlfriend, Giuliana Caroli (Marisa Mell), and threatens to kill her unless she agrees to help him pull-off a payroll heist. She double-crosses Nanni and goes to the police. Now Giuliana's life is in real danger.

What Works:

- The Vicious Nanni. Nanni Vitali is one of those vicious, brutal, sadistic type characters that are necessary for this kind of film to work. The things he is capable of doing can be at times shocking. The ferocious way he beats-up the gas attendant for no real purpose at all is the perfect example. He's the kind of character you wouldn't want to run into in real life.

- Marisa Mell. Marisa Mell is another of those European actresses who may not have been much of a thespian, but she has a certain screen presence that's undeniable. It's too bad the decision was made to ignore her character for the final third of the movie.

- The Score. Until seeing Beast with a Gun, I'm not sure I had seen a film scored by Umberto Smaila. His main theme is one of those pieces of music that gets stuck in your head and you can't get it out. The rest is above average and adds to the drama and tension on screen.

What Doesn't Work:

- Unbelievable Plot Points. While I could write about several instances where the movie stretches credibility, I'll limit these comments to two. First, no real police would bungle a heist set-up as bad as the police in this film. They have inside information. They know where and when the robbery is to take place. They have their own people poising as factory workers. Yet two people are killed and the robbers make off with a van full of hostages. Second, while scouting the vast Italian countryside, the police just happen to select and climb the very electric pole that will give them a clear view of the killers' hideout. How lucky can you be!

- Originality. Beast with a Gun is a fairly standard Italian police thriller that offers very little in the way of innovation. It's all routine, run-of-the-mill, seen-it-before type stuff. A little more creativity would have gone a long way to making it a good film of its type.

In the end, if you're a fan of this kind of film, you probably won't see anything you haven't seen before. But what is presented is generally well done with some very nice accompanying music. And, Marisa Mell makes the whole thing worthwhile for me.

6/10

Whirlpool (1949)

Too unbelievable for me to enjoy completely, 20 February 2006

I didn't think it was possible for Otto Preminger and Gene Tierney to make something this un-extraordinary. Preminger does a decent job with the direction, the acting (other than Richard Conte who comes across as a stiff) is fine, and the movie looks good. So what went wrong? The plot has so many points that stretch believability to the limit that I couldn't ever "get into" Whirlpool. There's too much of that psycho-mumbo-jumbo that really annoys me. What I know about hypnosis wouldn't fill a thimble, but I simply refuse to believe it's possible to use in the manner presented in this film. Without a strong grounding in reality as I understand it, an otherwise normal film about a murder isn't believable. I would love to go into more detail, but I don't want to ruin the film for those who haven't seen it. Just trust me when I say that what Jose Ferrar's character is capable of is as far-fetched as any fantasy film I've seen.

5/10

Gorgo (1961)

Godzilla it ain't, 18 February 2006

Gorgo follows the basic plot premise laid out by the much better known Godzilla. A giant monster is awakened from the depths of the ocean and begins destroying everything in its path. The difference, and this is a matter of personal preference, is that Toho did the giant rampaging monster better than anyone. For a lack of a better word, the Toho films are more "fun". I will give the makers of Gorgo credit, though, for the special effects. They are some of the best this sub-genre has to offer.

As for the rest of the film, it's lacking in a lot of areas. The acting is key among them. These people look like their sleepwalking through the film. They look bored to tears. A little energy on the part of the cast would have gone a long way to making Gorgo a better movie.

5/10

Black Mama, White Mama (1973)

Pam goes to prison - again!, 18 February 2006

If you're a fan of either early Pam Grier or 70s Women-in-Prison (WIP) flicks, I'm sure this plot synopsis will sound eerily familiar: Two women are taken to an all-women's prison in the middle of the jungle in some unnamed Banana Republic. There the women are forced to endure physical torture, unwanted sexual situations, and working in the fields. With very little provocation, the two women become enemies and start a fight in the prison cafeteria. More scenes of torture until the women decide to work together to make their escape only to have what seems like everyone (police, gangsters, bounty hunters, revolutionaries) on their trail. It's like déjà vu all over again.

As far as WIP/exploitation films go, Black Mama, White Mama is neither the best nor worst I've seen. It's just about average. Other than having the two main characters chained together (which isn't really that novel an idea), no new ground is broken in this film. Most everything is standard cliché. For example, it takes less than 5 minutes of the movie's runtime for what I call The Required WIP Shower Scene. This one comes complete with a guard ogling the women through a peephole. How original!

Black Mama, White Mama left me with one burning question – how were these two women able to change clothes, including dressing like nuns, while chained together? It seems impossible to me.

6/10

The Dark Corner (1946)

"I can be framed easier than 'Whistler's Mother'.", 16 February 2006

The Dark Corner is the story of a P.I. framed for the murder of his ex-partner. Not only does he appear to have had the opportunity to commit the crime, he also has a very good motive. The partner was responsible for the P.I.'s two-year stay in prison. But who's the real murderer? With the help of his plucky girlfriend, the P.I. has to get to the bottom of this case before the police find the dead body and send him back to prison.

I've seen several wonderful noirs lately that have become "new" favorites, but I can't include The Dark Corner on this list. It's good, but it's just not great. Much of the blame has to be put on the P.I. as played by Mark Stevens. He is one of the most un-charismatic characters of this type I've seen. For the movie to work, you have to care about his plight and I just couldn't feel anything for him. If it weren't for his secretary/girlfriend, I doubt he would have ever been able to clear himself. He's just doesn't seem that bright or ambitious enough to pull it off on his own. I'm not that familiar with him, but if this is the way Stevens played characters in his other films, it's no wonder he never became a big star.

The rest of the cast is generally good with a real standout performance from Lucille Ball (yes, the same Lucy who would go on to eat chocolate off a conveyor belt and stomp grapes with her bare feet). I had no idea Lucy could "play it straight". She's wonderful. I'll have to track down some of her other early film roles. Other cast members include William Bendix as a big bruising heavy and Clifton Webb basically reprising his role from Laura. But as good as each of these actors are, they never felt like more than actors. The roles were too stereotypical to be as believable as I would have preferred.

One of the highlights for me is the feel and look of The Dark Corner. The film has a dark, gritty feel to it that adds to the characters' desperation. Lighting and cinematography are more than adequate. Director Henry Hathaway has given The Dark Corner a mood and atmosphere second to none. And, as a bonus, The Dark Corner includes some wonderful on-location shots of New York City in the 40s. Forget about studio sets when you can film in the real thing.

6/10

Rabid Dogs (1974)

- Cani arrabbiati
Bava's grittier side, 16 February 2006

I have now seen all but a couple of Mario Bava's films. I've always enjoyed the way Bava seemed to reinvent himself with each movie. But Rabid Dogs represents even more of a departure from the norm for Bava. It's more akin to something Sam Peckinpah might have made than it is to such seemingly varied films as the Gothic nightmare of Black Sunday or the Technicolor dream of Hercules in the Haunted World or the campy fun of Danger Diabolik. Rabid Dogs is gritty and brutal and rarely lets up on the tension. The story involves three small-time robbers/killers who think that with their latest job they've hit the big time. During their escape, they pick up a frightened woman who will become the target of their abuse and an older man with a very sick child. Together, these six people will go on a nihilistic journey with only death waiting at the end. The confined set (90% of Rabid Dogs takes place inside a car) adds immensely to the psychological tension and physical threat these three desperate men represent. There is no place for the captives to go to escape the overbearing fear they face. Bava films this small space with some remarkable camera angels that build on the hot, claustrophobic feel of the movie. Gone are the colored gels and dream-like lighting Bava seemed so fond of in his earlier movies. Instead, Rabid Dogs is filmed in such a realistic manner that you can almost feel the sweat, grim, and dirt that comes from being trapped in such small space. Finally, even though I was able to predict the movie's outcome in some detail, it's quite shocking to watch as the final twist unfolds.

If you're a Bava fan, Rabid Dogs may not be the kind of movie to which you're accustomed to seeing, but it's one that shouldn't be passed-up.

8/10

Whispering Corridors (1998)

- Yeogo goedam
What's the Matter with Jin-Ju?, 15 February 2006

Whispering Corridors is a slow moving, but engrossing, ghost story set in an all-girl's school in Korea. There have been a number of Asian horror films released in the U.S. in the past few years, but as this one was made before most, I think of it more as a trend-setter than a copycat. While much of the horror is subtle and implied, there are moments where the horror slaps you in the face with some very vivid imagery. The rest of the story dealing with the relationships between the girls and the teachers is not the normal kind of thing I go for, yet here it's very well done. It doesn't seem as clichéd as most American films dealing with teens seem to be. The acting is top drawer and adds a lot to making the film work. I wish I could point out one or two of the performances that really stand out, but I don't speak Korean and all the names look alike to me.

Whispering Corridors probably wouldn't work for those not patient enough to allow the film to slowly unfold. And while I may not have enjoyed it as much as some of the more recent Asian offerings like A Tale of Two Sisters, it's an enjoyable enough experience.

7/10

Dark Passage (1947)

My only interest in your head is how easy it'll crack open.", 15 February 2006

Humphrey Bogart and Lauren Bacall only made a handful of movies together. Three of these movies – The Big Sleep, To Have and Have Not, and Key Largo – are in that special class of films that I call great. Dark Passage, on the other hand, is merely a good movie. It's not great by any stretch of the imagination – just good. The story involves a man wrongly imprisoned for the murder of his wife and the woman who wants to help him prove his innocence after he escapes from jail. As you might expect, Bogart and Bacall have a very natural on screen chemistry. There's nothing fake here. The scenes in Dark Passage that feature both of them are some of the real highlights of the movie.

Unfortunately, their on screen time together is limited by the decision not to show Bogart for the first third of the movie. The whole concept of telling the story from the first person perspective until Bogart's character has plastic surgery is, at first, a novel idea that presents the opportunity for several unusual and innovative scenes. But I've always felt this goes on far too long. What starts as "novel" turns into "tiresome" before we finally get to see Bogart's mug.

Beyond Bogart and Bacall, there's quite a bit to enjoy in Dark Passage. The cinematography is nice, the San Francisco locations are interesting, and the dialogue is snappy. The supporting cast is more than adequate with Agnes Moorhead being the standout. Although her role is limited, she steals scene after scene from Bogart and Bacall – something that doesn't appear to have been an easy thing to do.

I suppose the biggest weakness I see in Dark Passage is the implausibility of certain plot elements. For example, when Bogart's character escapes from prison, he just happens to end up on the road that Bacall's character just happens to be driving on. She just happens to notice an abandoned car on the side road and just happens to recognize Bogart when she pulls her car over. Too many coincidences for my liking.

7/10

Don't Go in the House (1980)

Inept is the word that comes to mind, 13 February 2006

Based on a lot of what I've read about Don't Go in the House, it seems to be a Love It or Hate It kind of movie. There appears to be very little middle ground. Put me in the Hate It category. If you take a look at some of the other stuff I've reviewed and enjoyed, you'll notice I do not automatically write-off a movie because of a low budget. Some of my favorites fall into the low-to-no budget category. But what those movies have that is sorely lacking in Don't Go in the House is talent. This is one of the most inept pieces of celluloid I've watched. It comes off as some kind of lame Psycho rip-off without anything approaching entertainment to be found in the entire runtime. It's dull, poorly acting, poorly directed, and poorly scripted. I feel like I've just flushed the $11.98 I paid for the DVD down the commode.

1/10

The Ghost Ship (1943)

A "lesser" Lewton is still a solid movie, 13 February 2006

Tom Merriman (Russell Wade) is the new 3rd Officer on a ship headed down the coast of Mexico. Merriman meets and, at first, likes his new skipper, Captain Wade Stone (Richard Dix). However, a series of unfortunately events has Merriman questioning his first impression of Captain Stone. Merriman believes the Captain is going mad and must report him to a company representative. But at what price? Won't Merriman's life be in danger if her reports the Captain?

I suppose I would consider The Ghost Ship a "lesser" Lewton film. When compared with some of the Lewton classics like The Cat People, I Walked with a Zombie, and The Body Snatcher, it doesn't come out looking too good. On its own, The Ghost Ship is a slow moving story with a nice payoff in the end. Those desiring a quick, thrill-a-minute had best find another movie. This one takes its sweet time building to the conclusion.

Like all Lewton films, given the budgetary constraints Lewton worked within, it's amazing how technically sound these movie are and how good they look. Lightening, cinematography, and sets are as good as any you'll find in a film from the 40s. Take the sets as an example. The outdoor locations of San Sebastian were obviously shot on a back lot and made for some other movie. But with the expert way these sets were shot, to me at least, makes them look authentic.

Of note in the acting department is Richard Dix as the Captain. He has a way of speaking that, while at first off-putting, later becomes genuinely creepy. In addition to the voice, you can actually see the madness evident in Dix's eyes. The rest of the cast is solid at worst.

Overall, while I'll never consider The Ghost Ship one of Lewton's best films, I enjoy it each time I get the opportunity for a revisit.

7/10

Cannibal Holocaust (1980)

"Today people want sensationalism; the more you rape their senses the happier they are.", 12 February 2006

Going into a film like Cannibal Holocaust, it's difficult to know what to expect. Anyone who has any interest has read all the hype – the most disturbing movie ever made, banned in 60 countries, real animal killings, director Ruggero Deodato had to go to court to prove the human killings weren't real, etc. What I didn't expect to discover was such a well-made film. Parts of the film are indeed very brutal and, at times, difficult to watch. There are images in the film that I won't soon forget. The story is incredibly compelling because it is so real. Tribes of Indians similar to the ones presented in this film did (and in some cases do) exist in the South American rain forests. I suppose that if someone were looking for a "deep" meaning to Deodato's film, they might point to the man vs. nature aspects of the film where nature is represented not just by the animals, but by the natives as well. I suppose one could find something in the notion of who the real savages are – the natives or the filmmakers who exploit them. But the most amazing thing about Cannibal Holocaust is that somehow Deodato has made it very beautiful.

9/10

The Ghost and Mrs. Muir (1947)

"In my opinion, you are the most obstinate young woman I have ever met.", 11 February 2006

Delightful is the best word I can think of to describe The Ghost and Mrs. Muir. It's got everything – drama, comedy, romance, fantasy, good acting, solid direction, interesting cinematography, a beautiful score, atmosphere, nice sets, and a well-written script. It's taken me a while to finally get around to watching The Ghost and Mrs. Muir. From what some friends of mine (whose opinions I am now highly suspicious of) warned me that it was a sappy, sentimental movie and not my kind of thing at all. They couldn't have been more wrong. In short, it's very nearly a prefect movie.

While I could write pages about most every aspect of this film, I'll instead just mention a couple of areas that really stood out to me. First, the acting. Over the past couple of years I've become something of a Gene Tierney fan. I've still got a way to go see all of her films, but I sincerely doubt I'll enjoy her performance in anything as much as I did The Ghost and Mrs. Muir (and that includes Laura). I can't imagine anyone doing a better job of bringing life to Lucy Muir. It was easy to forget I was watching a character on a screen and not peeping into the life of a real person. Well done.

The second area I'll mention is the score. Bernard Herrmann's music fits every frame of The Ghost and Mrs. Muir flawlessly. The music adds immensely to the emotional roller coaster that is the plot. There are very few scores I would rate any higher than this one.

9/10

Sisters (1973)

"I saw a murder, and I'm going to prove it!", 11 February 2006

Sisters is a very well made low-budget thriller form Brian De Palma with a few very shocking moments and, unfortunately, a couple of serious flaws that keep me from rating it any higher. The basic premise of the psychological impact of being separated Siamese twins is, as far as I know, rather unique. De Palma handles this portion very well and in a believable manner. In lesser hands, Sisters might have disintegrated into the ridiculous psycho-babble I've heard once too often. As for shocking moments, the main murder in the film is rather unexpected and caught me off-guard in its viciousness. The low-budget special effects only add to the brutality of the images on screen. De Palma also creates a dream sequence near the end of the film that is beautiful and disturbing at the same time. The acting in Sisters is at least adequate with Margot Kidder giving a standout performance. The great Bernard Herrmann contributes a wonderful score.

But, as I mentioned, there are a couple of moments that do not work at all. The first is the reporter who "witnesses" the murder. From her vantage point, all she sees is a hand writing something in what appears to be blood on a window. In addition, there's such glare on the window that there is no way she couldn't have seen a whole lot more. Yet she tells the police that she "witnessed" a murder and that the victim was a black man. What? She never saw any of that.

My second problem with the movie comes near the end and is part of the dream sequence I mentioned previously. Exposition is fine as long as it's interwoven into the action going on screen. Having characters stop and explain what's going on so the viewer knows what they're seeing can drag a movie to a standstill. And when this type of exposition occurs during the climax of a film, it's unforgivable. During the build-up to the climax are scenes of one character basically telling another what the audience is watching. Maybe I'm being picky, but it really bothered me and hurt the flow of the third act.

7/10