Gang War in Milan (1973)

- Milano rovente
Sabato's good, but he's no Milian, 28 March 2006

Salvatore Cangemi (Antonio Sabato) is the head of an Italian crime family and the biggest pimp in Milan. When a French mobster wants to use Cangemi's girls to traffic his drugs, Cangemi refuses. The Frenchman doesn't take this lightly and moves in on the Milan territory by recruiting some of Cangemi's girls behind his back. It's not long before the two men and their entire organizations are involved in an all out gang war for control of Milan.

Because Gang War in Milan was directed by Umberto Lenzi, it's hard not to make comparisons with Lenzi's Almost Human. The problem is that if you've seen Almost Human, Gang War in Milan all but pales in comparison. Almost Human is, at least to me, something of a masterpiece of the genre. Lenzi got it right with the over-the-top, uber-violence. The level of action and violence in Gang War in Milan doesn't come close to that found in Almost Human. Furthermore, if you compare Antonio Sabato in Gang War in Milan with Tomas Milian in Almost Human, Milian easily comes out on top. Sabato is adequate in his role as the leader of the gang, but does not have the screen presence or magnetic personality of Milian. Even as Milian is committing some of the most heinous crimes imaginable, it's hard to dislike the man.

Based on what I've written so far, it almost sounds like I don't care for Gang War in Milan – and that's not the case. Gang War in Milan is a reasonably entertaining example of the Italian crime drama. It's far from being the worst film of this type I've seen. The story is compelling, the film looks good, and overall the acting is very nice. The different plots and schemes the French and Italian gangs carry out against each other are quite ingenious. I was especially fond of the French gang dressing like cops and arresting and holding hostage all of the prostitutes. Good stuff. Also, there are some nice plot twists toward the end of the film that I never saw coming that make for a very satisfying conclusion. And, as a real big plus, Gang War in Milan features Marissa Mell.

I realize that I'm probably not being fair to Gang War in Milan because of my preference for Almost Human. If I had never seen that movie, I'm almost positive that my opinion of Gang War in Milan would be different.

7/10

Hatchet for the Honeymoon (1970)

- Il rosso segno della follia
"The truth is, I am completely mad.", 27 March 2006

I've always considered Hatchet for the Honeymoon one of the "weaker" Bava films. It doesn't have the artistry of Black Sunday or the flair of Blood and Black Lace. Even with these perceived flaws, a weak Bava is still an enjoyable experience.

The basic story: Models and customers of a wedding gown design house are turning up dead on their wedding day. Each one viciously killed by a hatchet (meat clever) wielding maniac. It's not difficult figuring out who the killer is. Hatchet for the Honeymoon doesn't follow the normal rules of a horror/mystery. Think of it as a backwards Giallo. There are no clever red herrings, no suspicious characters, and no dead-end clues. Instead, the main character, John Harrington (Stephen Forsyth), reveals early on that he's a crazed killer. A bit of dialogue uttered by John early in the movie give tremendous insight into his character – "A woman should only live till her wedding day. She should love once and then die'."

But in this case, our killer feels he has a justifiable (albeit selfish) reason to kill. Each time he murders a woman, a vision that has haunted him becomes clearer. He's obsessed with discovering the meaning of the vision. How many brides must die before John discovers the secret of his vision?

John also has a nagging wife whom he would like to divorce. But, it seems that she has the money and won't let him go. Instead, she would rather make his life miserable. Deciding he can't take anymore of his wife, John kills her. Still not wanting to leave John, the wife's ghost continues to torment John. In a bizarre twist, John – the lunatic – is being driven mad by his wife. Is it possible for a homicidal maniac to be driven crazy?

The performances are fairly standard for this kind of film. Stephen Forsyth is more than adequate for the role of the hunky (did I just use that word) killer. I've always felt that his wife, played by Laura Betti, is the only real weak point in the cast. She just doesn't come across very naturally. In scenes where she is tormenting John from the grave, she's appears to be nothing more than an actress playing a part. I never bought into her performance.

While there are flashes of Bava's brilliance, much of Bava's trademark style seems muted. For example, while the room of mannequins makes a nice scene, it's not awash in color like scenes from Bava's Black Sabbath or Blood and Black Lace. Instead, it's a fairly dark room without any terribly unusual lighting. It's not that Bava's work here isn't impressive, because it is. There are scenes shot through peep holes and small windows that show other facets of Bava's creativity.

I should also mention the score. The music, by Sante Maria Romitelli is a real asset to the movie. Much of it is a loving, soft, romantic score. This type of music mixed with the idea of burying a hatchet in someone may seem inappropriate, but it makes these scenes even more chilling. A perfect example of this is the music box tune John plays when killing the bride in the mannequin room. It's a very effective use of music.

7/10

A Bucket of Blood (1959)

"But if you'd have shot me, you'd be moppin' up my blood now.", 27 March 2006

A Bucket of Blood is a nice little Corman horror film. It plays better than many of his other non-Poe, non-Price films. It's the story of a "backwards" busboy in a beatnik dive trying to fit in by becoming an artist. His creations are the talk of the joint. But just how is the seemingly talentless busboy able to create such realistic images of death?

Dick Miller plays the busboy in one of the few feature roles I remember seeing him in. The mix of emotions he imbibes into his character is a highlight of the film. At one moment he's confused, the next a raving lunatic. Corman kept the screenplay simple and it works. I've seen too many low budget directors try to creative effects, etc. that their budgets just do not allow. Corman doesn't do this. This one is definitely recommended to fans of the 50s quickie horror films.

7/10

Death at Love House (1976) (TV)

Too predictable, 27 March 2006

The 70s were without a doubt the golden age of "made-for-TV" horror. This is one of those that was probably churned out as an ABC movie of the week. It's the old story of a house and/or ghost possessing one of the new owners. The movie has promise, but it's never realized. Everything is rushed too much. Tension and suspense need time to build and grow. And there's nothing new. We've seen it all before and one better.

One final thought: I don't understand why Robert Wagner's character would fall for the long dead movie star when he's married to Kate Jackson for goodness sake!!!

3/10

Jungle Holocaust (1977)

- Ultimo mondo cannibale
Savage, wild, and fascinating, 27 March 2006

As a primer for the better known Cannibal Holocaust, Jungle Holocaust is definitely not a movie for all tastes. It's rough and raw presentation of savagery would put-off many a viewer. And because director Ruggero Deodato chose to use real aboriginals as his cannibals and real jungle locations, the movie has an authentic feel to it that serves to increase the unsettling feeling Jungle Holocaust produces. I've never run into a real cannibal, but this is what I would expect them to look like. They're dirty, vicious, and wild and (other than one exception) completely believable. The situations our hero Robert Harper (Massimo Foschi) faces seem real making the horror in Jungle Holocaust very effective.

Beyond the gruesome on-screen action, the acting is a real highlight of Jungle Holocaust. Foschi has the most screen time and does the most with it. His slow disintegration into madness and to the savageness of the cannibals around him is fascinating to watch unfold. It's a terrific piece of acting. Me Me Lai has the second most screen time and while she's good in her non-speaking role, she's also the one exception to the believability factor in the movie I mentioned previously. I sincerely doubt that any stone-age, cannibal tribe in the history of the Earth contained a woman that looks as good as Me Me does in Jungle Holocaust. She looks too good to be believable and stands out like a soar thumb when compared with the other tribe members.

Finally, a word of warning: Those who do not want to see real animals die on-screen had best be advised to stay away. If you are easily offended by this kind of stuff, don't' watch the movie. While I personally find these scenes unconscionable and disgusting, I was able to get past them and appreciate and even enjoy the brutal nature of this fascinating film.

7/10

Angel of Death (2002)

- Semana Santa
I don't understand all the hate directed at this movie, 26 March 2006

I'm shocked by all the negative reviews I've read on Angel of Death now that I've seen it. My rating of a 6/10 almost makes me look like a fanboy in comparison with what most people seem to think about Angel of Death. It may not be the best movie ever made, but it's certainly better than the garbage others seem to be labeling it. Take the criticisms I've seen leveled against Mira Sorvino. The charge – Sorvino sleepwalks through her performance. What these people call sleepwalking I tend to view as a nice, understated performance that works for me. It's like the old adage – one man's trash is another man's treasure.

The plot centers on a series of brutal murders being committed during the Spanish Holy Week celebrations in Seville by a red-hooded monk. Through their investigations, Sorvino and her compatriots discover a back-story of rape and greed dating back to the time of the Spanish Civil War. Sorvino must find the killer before she becomes the latest victims. This plot is, perhaps, the movies weakest point. It's interesting enough, but it's far too involved to completely explore in a roughly 90 minute movie. There are a few subplots that go nowhere and much is left to the viewer to figure out.

In many respects, Angel of Death seems to be an attempt to revive or at least revisit the European or Giallo thrillers of the past. A black-gloved hooded killer, a convoluted plot, beautiful cinematography, and violent death scenes all hearken to the glory days of the Euro-thriller. It's a shame this movie wasn't more well received because I would have enjoyed seeing more of this kind of film.

6/10

Opera (1987)

A must for fans of eye trauma, 25 March 2006

Betty is an understudy for the lead in a production of Verdi's Macbeth. When a car mysteriously hits the lead, Betty is thrust into the spotlight. Opening night is a smashing success and Betty decides to leave the after-party to celebrate in private with her boyfriend. But when the boyfriend leaves the room, Betty is grabbed from behind by an unknown black-gloved, masked figure. The unknown assailant ties Betty to a column, gags her, and places needles under her eyes that will cause incredible damage and pain should Betty close them. The boyfriend returns to the room and is stunned to see Betty in such a predicament. He's even more shocked when the killer grabs him and shoves a knife through his lower jaw with such force, the tip of the knife can clearly be seen in his mouth. And Betty has been forced to watch all of this. So begins Betty's terrifying ordeal with a killer not just intent on hurting her, but also on forcing her to watch as he mutilates her friends.

Opera gets classified as a Giallo, but to me, it differs in quite a few ways from the model. Less emphasis is placed on the mystery elements of the story than in something like Argento's Tenebre or The Bird with the Crystal Plumage. The black-gloved, masked killer may be omnipresent, but the clues and red herrings normally associated with a good Giallo are absent. Instead, Opera is all about the tension of an unknown killer and making the audience uncomfortable. The focus is on the grisly death scenes, Betty's fear, and the killer's obsession with Betty.

Opera features what I think are some of Argento most artistic death scenes. When the killer grabs Betty after her boyfriend leaves the room, you're sure that Betty's had it. But the sadistic killer only wants to force Betty to watch as he brutally stabs her lover in the neck – the knife emerging in his mouth. It's a well shot and designed scene. And those needles in the eyes – brilliant. Or, take the death of the seamstress. At first her death seems like an ordinary, run-of-the-mill murder. But when the seamstress accidentally swallows the killer's locket, what started out as just another death scene turns it up a notch as the killer uses a pair of scissors to cut the girl's throat open to get his chain. Finally, there's the most famous death scene in Opera that I'm amazed with each time I see it – Mira is shot in the eye while peering through a keyhole. That scene displays a lot of what I like about Argento. It's got style to burn. As implausible as it may be, it's creative, memorable, and a blast to watch.

Argento certainly wasn't the first Italian director to concentrate on eye mutilation, but in Opera, he's taken eye trauma to a new level. Needles holding eyes open, a bullet in the eye, and ravens pecking out an eye are all part of Argento's vision (pun intended). And these scenes do have the effect that I believe Argento was going for. The first time I saw the killer putting those needles in Betty's eyes, I couldn't stop blinking. It actually had a physical effect on me. What is it about the eyes that make them such a target for abuse in Italian films?

To be fair (and not sound like such a fanboy), there are problems I have with Opera that keep me from rating it as Argento's best. One of my problems is with the air duct system running through Betty's apartment building. While I don't doubt there are air duct systems in older apartment buildings that connect the apartments, the ducts in Opera are HUGE. I'm no expert, but I sincerely doubt any building like the one in this movie would have had such mammoth air ducts. It doesn't seem practical at all. And don't you think someone would have done something about them long ago to keep criminals and nosey neighbors out of the other apartments? It's convenient for the plot, but it's not very realistic.

But I suppose my major problem with the film comes with the finale. What's up with that ending? It feels totally out of place, tacked on, and like a bad afterthought. I'm not sure what else to say other than it's horrible.

8/10