I’ve recently been binging a lot of Vinegar Syndrome releases, including a box set of made-for-TV mysteries, an odd bit of exploitation-horror made in Florida by a French director, and one of the most brain-bendingly bad movies I’ve ever seen.
A selection of European genre movies from the 1970s and ’80s ranges from sadistic killers to cannibals to elegant vampires, from bad fashions and electro-pop music to old families sinking into decadence, from masters of exploitation like Sergio Martino, Lucio Fulci, Umberto Lenzi and Ruggero Deodato to the artful Harry Kümel.
Bingeing has been my default viewing mode for some time, but it’s only more recently that it’s come to encompass indulging in multiple releases by a particular company – which in turn is a result of those company’s offering regular sales and discount packages of monthly releases. The most prominent examples of this are Vinegar Syndrome and Severin Films, both of which specialize in genre and exploitation titles, pulling me into deep, often sordid, black holes.
Indicator continue to release exemplary editions of a wide range of movies, from obscure genre titles to classics to exploitation and occasional failed experiments. Recent viewing ranges from Max Ophuls’ exquisite domestic noir The Reckless Moment (1949) to Blake Edwards’ taut thriller Experiment in Terror (1962) and Arthur Lubin’s surprisingly good Gothic romance Footsteps in the Fog (1955).
Two recent two-disk sets released by Eureka in England provide two very different forms of popular entertainment. Two Films by John Woo contains a pair of top-notch martial arts movies from the first stage of Woo’s career, before he hit it big with the gangster films of the mid-’80s, while the three movies in their Bela Lugosi/Edgar Allen Poe set present some of the most deliriously perverse horrors of the pre-Code era. While the crown jewel is Edgar Ulmer’s expressionist masterpiece The Black Cat, the set’s revelation is the Easter egg inclusion of a “virtual director’s cut” of Robert Florey’s Murders in the Rue Morgue, which follows Tim Lucas’ suggestions, based on internal evidence, or what the film might have been before studio tampering made it a disjointed mess.
Minor Euro-horror gets the deluxe treatment in several releases from Blue Underground, Grindhouse Films and Severin; three features by Dutch director Dick Maas – De Lift (1983), Amsterdamned (1988) and Down (2001) – and three from Lucio Fulci – Cat in the Brain (1990), Aenigma (1987) and Demonia (1990) – along with Simone Scafidi’s Fulci for Fake (2019), an illuminating documentary about Fulci.