Vincenzo Tomassi – Missile Test

October Horrorshow: Killer Crocodile

Killer Crocodile movie poster Who doesn’t like a shitty Jaws ripoff? Honestly, plenty of people. But enough do like it that giant animal flicks have become a robust subgenre of b-horror the last couple of decades, thanks to the work of outfits such as The Asylum, and the availability of affordable CGI. Jaws ripoffs aren’t the sole province of the 21st century, though. The Italians, whose cinema has always had a mere passing relationship with copyright law, produced plenty of their own…homages…to Steven Spielberg’s blockbuster.

Bruno Mattei, Dino De Laurentiis, Sergio Martino, Enzo G. Castellari, Ovidio G. Assonitis, Raffaele Donato, Lamberto Bava, Luigi Cozzi, Dardano Sacchetti, Joe D’Amato, and more — all names familiar to fans of Italian genre films, all of whom participated in Jaws ripoffs. Add to the list Fabrizio De Angelis, who produced, directed, and wrote, with the aforementioned Dardano Sacchetti, 1989’s Killer Crocodile.

Killer Crocodile follows a small group of conservationists who are investigating contamination in a rural swamp. It’s never said what country they are in, but the movie was filmed in the Dominican Republic. Continue reading “October Horrorshow: Killer Crocodile”

October Horrorshow: The House by the Cemetery, aka Quella villa accanto al cimitero

Leave it to Lucio Fulci to make a haunted house flick with lots of gore. Whereas countless filmmakers have used spooky ghosts as an unseen menace, to varying effect, Fulci decided to stick with what he knew, and he knew gore. He also knew convoluted storytelling.

From 1981, Fulci directed The House by the Cemetery from a screenplay by Dardano Sacchetti, Giorgio Mariuzzo, and Fulci, himself. The movie follows the Boyle family: college professor Dr. Norman Boyle (Paolo Malco); his wife, Lucy (Catriona MacColl); and their young son, Bob (Giovanni Frezza). Fair warning to all potential viewers — Bob is a chore. Missile Test has made it clear how we feel about the talents of child actors, but in this instance, Frezza gets a pass. It’s the awful dubbing that does the most to make Bob one of the more annoying movie children one will see. Anyway… Continue reading “October Horrorshow: The House by the Cemetery, aka Quella villa accanto al cimitero”

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”

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”

Lo spettacolo dell'orrore italiano: The New York Ripper, aka Lo squartatore di New York

Is it giallo? Is it horror? Is it both? In Italian cinema, the line between giallo and horror is often blurred, to the point it becomes insignificant. Thus it is with The New York Ripper, one of Lucio Fulci’s 1982 films. It has the most important tropes of giallo — women in danger, a serial killer on the loose, lots of nudity, and more blood than American audiences are used to in thrillers. It also has the feel of a slasher flick. Shoving the film into one category or another doesn’t do the viewer any good. And, if it ain’t horror, it can’t be part of the October Horrorshow. Continue reading “Lo spettacolo dell'orrore italiano: The New York Ripper, aka Lo squartatore di New York”

Lo spettacolo dell'orrore italiano: Manhattan Baby, aka Eye of the Evil Dead

According to the internet, so it must be true, director Lucio Fulci did not like the title of Manhattan Baby, his second feature released in 1982. He preferred the title ‘Evil Eye.’ He had a point. ‘Manhattan Baby’ makes it sound like this movie is just a ripoff of Rosemary’s Baby, and it is not. If there is any horror movie this flick cribs from, it’s The Exorcist.

Manhattan Baby stars Christopher Connelly as George Hacker, a professor of Egyptology. In an introduction featuring some beautiful location work in Egypt, Hacker is shown heading an archeological dig. A tomb is uncovered, and while Hacker is exploring it, he falls through a trapdoor into another chamber. There, a strange symbol carved into the wall, with a glowing jewel in its center, shoots blue lasers into his eyes, blinding him. Meanwhile, Hacker’s daughter, Susie (Brigitta Boccoli), and wife, Emily (Laura Lenzi), are nearby, having accompanied George for a vacation. At the same time George is being blinded, an old woman with clouded eyes is giving Susie a medallion just like the mysterious symbol George found in the tomb in miniature. Soon after George crawls forth from the tomb and collapses into the desert sand. That’s some setup. Continue reading “Lo spettacolo dell'orrore italiano: Manhattan Baby, aka Eye of the Evil Dead”

October Horrorshow: The Beyond, aka 7 Doors of Death, aka E tu vivrai nel terrore! L’aldilà

This one’s for the gore hounds. This flick is for those who like melting faces, popped eyeballs, severed tongues, crucifixion, putrefaction, red blood, yellow ooze, brown goo, and don’t mind one bit that the plot has all the narrative consistency of getting blackout drunk. But, that’s okay. If an Italian horror flick had a plot one could follow, would it still be an Italian horror flick?

From legendary director Lucio Fulci, who also has a screenwriting credit, comes The Beyond, originally released in the States, slightly butchered, as 7 Doors of Death. Continue reading “October Horrorshow: The Beyond, aka 7 Doors of Death, aka E tu vivrai nel terrore! L’aldilà”

Shitty Movie Sundays: The New Gladiators, aka Warriors of the Year 2072, aka I guerrieri dell’anno 2072

Warriors of the Year 2072 Television is a tough racket. Just ask the employees of WBS TV. In the future, the year 2072, to be precise, WBS has a hit show on their hands. It’s called The Danger Game, where contestants are hooked up to a machine that pumps visions of bloody torture directly into their brains. If they endure the torture without panicking, they win. It’s a successful show for the discerning TV consumer of the dystopian future, but it’s still getting beaten in the ratings by Kill Bike — a show featuring riders on motorbikes engaging in some poorly filmed jousting.

The mysterious head of WBS, Sam (Giovanni Di Benedetto), has a new idea for a show that should get WBS back on top of the ratings. Essentially, WBS is going to steal the idea of Kill Bike, but WBS will increase the stakes. The contestants will all be convicted murderers, and they will battle to the death in the famed Coliseum of Rome.

The New Gladiators was released in 1984, and is part of the wave of cheap Italian sci-fi that found inspiration following the successes of the Mad Max films and Escape from New York, among many others. This particular film, from famed b-movie auteur Lucio Fulci, borrows from those two films, while still finding enough room to cram in heaping amounts of Rollerball, Blade Runner, and A Clockwork Orange. Most impressively, Fulci was able to reach forward through time and steal ideas from The Running Man (all joking aside, the similarities are enough that I have to think the people behind The Running Man were Fulci fans). Continue reading “Shitty Movie Sundays: The New Gladiators, aka Warriors of the Year 2072, aka I guerrieri dell’anno 2072″

October Horrorshow: Zombi 2

I could not imagine there being an October Horrorshow without a zombie flick. REC got close, but that and other recent movies are from the new wave of zombie fare — i.e., the bad guys aren’t zombies, they’re infected by some nefarious viral agent. But Halloween just couldn’t be Halloween without a horde of the classic lumbering undead making an appearance on my screen. Enter director Lucio Fulci’s Zombi 2, the 1979 Italian sequel/non-sequel to George Romero’s Dawn of the Dead. Continue reading “October Horrorshow: Zombi 2″