Horror, westerns science fiction, crime, magic, demons, vampires, zombies, witches, a one-legged detective, people trapped in a deadly house, a damsel in distress and a film editor driven mad by cheap exploitation movies …
Speed reviewing, Nov. 2019
Horror
Benjamin Christensen’s Häxan (1922): Criterion Blu-ray review
Criterion’s new Blu-ray edition of Benjamin Christensen’s Häxan (1922) reveals a startlingly complex and modern work; a multi-layered essay on the subject of the European witch craze of the 14th to 17th Centuries, the film is richly detailed exploration of religion, power and madness which still has relevance today.
Recent miscellaneous viewing, part three
Yet more recent random viewing: Joseph L. Mankiewicz’s movie-biz tragedy The Barefoot Contessa (1954); Lucio Fulci’s first and (almost) last gialli, One on Top of the Other aka Perversion Story (1969) anf The New York Ripper (1982); Ivan Nagy’s oddly poetic serial killer movie Skinner (1993); and some cheap bargains from the local drugstore.
Trashy Brit horrors
Recent Blu-rays from Indicator serve up a feast of British exploitation horror with Bloody Terror, a lavish box set of five features (1976-87) by Norman J. Warren. plus Richard Marquand’s first feature, The Legacy (1978).
Indicator’s Hammer vol. 3: Imperialism, War & Race
Indicator’s third box set of Hammer movies highlights some interesting issues about the treatment of race in popular culture.
Another eclectic week
This week, I revisited several classic horror and sci-fi movies, plus a few more recent exploitation movies.
Post-Op, week four
Another eclectic week – Italian gore from Joe D’Amato, regional American exploitation, a pair of Amicus horrors from director Roy Ward Baker, a documentary about Dark Shadows creator Dan Curtis, and a glorious restoration of the Russian folk-horror Viy.
Remember Paul Wendkos?
Although a very prolific director (of mostly television) from the 1950s to the ’90s, Paul Wendkos isn’t a well-known name today, though at his best he had a real flair for unsettling visuals which suited the burgeoning paranoia of the ’70s. That style is well showcased in The Brotherhood of the Bell (1970) and The Mephisto Waltz (1971).
Post-Op, weeks two and three
Some more brief comments on recent viewing: classic horror, Italian crime action from Umberto Lenzi, gender-bending art from France and exploitation from Australia, the U.S. and the Philippines.
Post-Op, week one
A week of intensive viewing following surgery provides a mix from classics to trash and everything in between – crime, horror, sci-fi, art and exploitation.
