This week, I revisited several classic horror and sci-fi movies, plus a few more recent exploitation movies.
Another eclectic week
Tag: Horror
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.
Miscellaneous viewing – Summer 2019
Recent viewing includes a stark western (compared to the work of Dreyer by Bertrand Tavernier), an entertaining adventure souffle from frequent collaborators John Huston and Humphrey Bogart, and a ground-breaking satirical drama from Robert Aldrich which dealt sympathetically with lesbianism in the late 1960s.
Random viewing, short takes – part two
More Italian genre movies from the 1970s – horror, giallo and poliziotteschi – along with a gritty American exploitation movie which owes something to the giallo.
Recent Brit disks
Recent viewing includes an obscure arty film by the producer of Blow-Up and a pair of lesser known horrors from the heyday of British Gothic.
Random viewing, short takes
A decidedly mixed bag of recent viewing; a pair of young adult zombie stories — the Maze Runner Trilogy (2014-18) and the small-scale The Girl with All the Gifts (2016); a taut ’50s prison escape noir (Crashout, 1955) and a polished new crime noir (Dragged Across Concrete, 2018); a minor, dull thriller (All the Devil’s Men, 2018); and a bloated, enervatingly pretentious remake of a genre classic (Suspiria, 2018).
More from Indicator
Recent disks from Indicator present a wide variety of styles and genres from bleak ’60s espionage to slick 1970s big studio exploitation, charming period comedy to enjoyable if less-than-scary horror.
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