…And then there’s Cannibal Ferox. Released a year after Cannibal Holocaust, in 1981, Cannibal Ferox tries to succeed as a film by taking the most exploitative moments of Holocaust, and wrapping footage around them. Writer/director Umberto Lenzi did not seem to realize that what made Cannibal Holocaust a successful movie was not the animal slaughter or the graphic violence. Those are, arguably, essential parts of the package, but Holocaust is indeed a package deal. It succeeds because most aspects of the film are well done, including story, acting, cinematography, music, etc. Without all those things working together, viewers get, well, Cannibal Ferox. Continue reading “Lo spettacolo dell'orrore italiano: Cannibal Ferox, aka Make Them Die Slowly”
Month: October 2023
October Horrorshow: Friday the 13th Part VIII: Jason Takes Manhattan
See that subtitle? The one that reads ‘Jason Takes Manhattan?’ There’s a lot of promise in a subtitle like that. New York City is a big place. It’s an assault on the senses like nowhere else in the country. It’s loud; it’s packed full of smells, strange, pleasant, and offensive; no matter where you are in the city, there is always something worth looking at. It’s a city that begs to be experienced every day one is there. It’s also an expensive place to film, so when writer/director Rob Hedden had his Friday the 13th sequel greenlit by the studio, they told him there could only be two days of filming in the Big Apple.
So, that subtitle? It would have been more accurate if it had read ‘Jason Takes a Pleasure Cruise’ or ‘Jason Visits the Alleys of Vancouver.’ Hedden was crushed by the studio’s decision, but soldiered on, delivering a movie that he knew disappointed fans, because it disappointed himself just as much. That’s the bad news. The good news is, after a string of films with loosely-connected plot threads and uninteresting premises, the Friday the 13th franchise returns to a more basic slasher formula, and one that works better. Continue reading “October Horrorshow: Friday the 13th Part VIII: Jason Takes Manhattan”
Lo spettacolo dell'orrore italiano: Cannibal Holocaust
This one’s a tough watch, folks. Cannibal Holocaust, from director Ruggero Deodato, was not the first Italian cannibal horror flick, but it is the most notorious. It’s the most disgusting. It’s the most disturbing. It’s the most alarming. It’s the most guilt-ridden for the viewer. Its portrayal of death was realistic enough that Deodato was briefly charged with murder upon the film’s release in Italy. It has earned every bit of its reputation. It’s also one hell of a movie.
Cannibal Holocaust tells the story of four NYU film students who head to the Amazon jungle in Colombia to shoot a documentary about local tribes that practice ritual cannibalism. When they go missing, a professor of anthropology, Harold Monroe (Robert Kerman), heads to the jungle to see if he can find out what happened. He’s joined by guides Chaco (Salvatore Basile), and Miguel (possibly Ricardo Fuentes — the credits don’t say and the internet is divided). Continue reading “Lo spettacolo dell'orrore italiano: Cannibal Holocaust”
October Horrorshow: Deadly Manor
The late 1970s into the early ’90s was one of horror cinema’s golden ages, and that success was built on the slasher flick. The names of villains are iconic. Michael Myers. Jason Voorhees. Freddy Krueger. Chucky. But, most slasher flicks didn’t have larger than life villains such as these. The grist mill was running too hard and fast. The VHS boxes were piling up in the back of the video store. The mantra was to take the familiar slasher tropes, throw some new, young faces into the mix, and let loose. Most slashers ended up being one-offs, with no hope for a sequel. Some, like Maniac or My Bloody Valentine, became iconic in their own right. Most were crap, though. Like Deadly Manor. Continue reading “October Horrorshow: Deadly Manor”
Lo spettacolo dell'orrore italiano: Massacre in Dinosaur Valley, aka Nudo e selvaggio
There are good Italian cannibal horror flicks, and there are bad Italian cannibal horror flicks. Besides the plot elements they all share and steal from one another, the other thing they have in common is that they are prime exploitation cinema. Massacre in Dinosaur Valley is one of the more exploitative of the bunch, and it has nothing to do with animal slaughter and mutilation, or graphic depictions of bodily injury. This flick is about the nudity. It’s right there in the Italian title of the movie.
“Nudo e selvaggio” translates into English as, “Naked and wild.” The English-language distributors must not have thought much about that title, which would probably have frightened off more than a few theater owners back when it was released, so they titled the film Massacre in Dinosaur Valley. It’s just as descriptive and accurate as the Italian title. There is a massacre, and it happens in some place called Dinosaur Valley, but I have to admit that, going into this film blind, I was disappointed that there weren’t any dinosaurs. Meanwhile, had the film just been called Naked and Wild, my expectations would have been satiated. Anyway…
From 1985, Massacre in Dinosaur Valley is a joint Italian/Brazilian production, written and directed by Michele Massimo Tarantini, with some uncredited script work by prolific screenwriter Dardano Sacchetti. The film stars Michael Sopkiw as Kevin Hall, a mercenary paleontologist who roams all over South America in search of fossils. Continue reading “Lo spettacolo dell'orrore italiano: Massacre in Dinosaur Valley, aka Nudo e selvaggio”
October Horrorshow: The Dead Next Door
Many creative people hail from the rusted industrial corpse of Akron, Ohio. Some of them even get famous. Musicians, mostly. But, when it comes to filmmakers, there is one name, and one name, only, associated with Akron. And it’s not Jim Jarmusch, despite what the list of people from Akron on Wikipedia would suggest. This filmmaker has not only made more movies than Jarmusch (who I like as a filmmaker, by the way), but made many of them in his good ole hometown. His name is J.R. Bookwalter.
His first feature, released in 1989, is the classic low-budget, ultra-gory Dead Next Door. Produced, written, and directed by Bookwalter, production began in the summer of 1985 when Bookwalter pitched Sam Raimi on the film. Raimi, gaining an executive producer credit, agreed to pony up the cash, and shooting began in spring of 1986 after some fits and starts. More problems cropped up, as often happens in productions like this, but the majority of the film was in the can by that autumn. 1987 and 1988 were for reshoots, more tinkering, and editing. Finally, sweet release on video in November of 1989. That’s a labor of love, folks. Continue reading “October Horrorshow: The Dead Next Door”
Lo spettacolo dell'orrore italiano: Panic, aka Bakterion, aka Monster of Blood
Horror flicks from Italy are some of the most beloved films the genre has to offer. They have a style that is instantly recognizable. Names of auteurs — Argento, Bava, et al — are known and discussed with reverence by fans. But, like film industries all over the planet, there is a fair amount of chaff among the wheat. Case in point: Panic, a bottom-feeding horror flick released under a number of titles, including as an entry in the confusing Zombi series of films.
From screenwriters Victor Andrés Catena and Jaime Comas Gil, and directed by Tonino Ricci, Panic is quite a departure from other films featured in this year’s Horrorshow. It’s not gothic, nor is it a descendant of giallo. There are no supernatural elements and no lip service to the Catholic Church. If anything, this film, in tone and style, is reminiscent of 1950s and early 1960s British science fiction, along the lines of the Quatermass films. In other words, it’s talky. Continue reading “Lo spettacolo dell'orrore italiano: Panic, aka Bakterion, aka Monster of Blood”
October Horrorshow: Forbidden World
Roger Corman has caught a lot of heat in these pages for being a cheapskate. The man was, and still is, ruthless in his pursuit of efficiency in his productions. This has often been a detriment to his films. As a filmmaker, Corman could make better movies if he loosened the purse strings ever so slightly, but he always seems to err on the side of budget over art. That said, the man’s contributions to cinema, and shitty movies, cannot be overstated. Forbidden World, a Corman production from 1982, encapsulates just about everything that makes a movie shitty, and is an excellent example of the Corman style. Continue reading “October Horrorshow: Forbidden World”
Lo spettacolo dell'orrore italiano: Absurd, aka Rosso sangue
As often happens in film, a project begins with one intention in mind, and ends up being something else. Such is the case with Absurd, one of eight films released by prolific filmmaker Joe D’Amato in 1981. Like with Anthropophagus in 1980, this is the only one of the year that wasn’t smut.
D’Amato had envisioned a film that would be a sequel to Anthropophagus, but frequent collaborator George Eastman, whom D’Amato tapped to star, decided to rewrite the whole thing into a Halloween ripoff, only with less plot. Why D’Amato, who also produced, decided to let Eastman change everything around, is anyone’s guess. D’Amato was the kind of filmmaker who wanted to get his movies into the can as quickly as possible, so just letting Eastman redo the screenplay might have been the path of least resistance. The problem is, while Eastman had an extensive list of credits as a screenwriter at that point, none of it is any good. Continue reading “Lo spettacolo dell'orrore italiano: Absurd, aka Rosso sangue”
October Horrorshow: The Devil’s Rain
The Devil’s Rain, the mafia-financed(!) horror flick from 1975, is blessed with a dubious honor — it made Roger Ebert’s list of most hated films. Roger Ebert was a brilliant film critic, but something of a stick in the mud. Sure, this film is silly, the plot meanders and is sometimes contradictory, and the ending is far too drawn out, but I can think of many, many more films to hate before even considering The Devil’s Rain. In fact, I don’t have to think about it at all, since I have a list handy, and The Devil’s Rain is better than any movie in the bottom fifty in said list. So there, Roger. Continue reading “October Horrorshow: The Devil’s Rain”