Review by Roger Carpenter
While Lucio Fulci made his reputation with a series of graphically violent horror movies like Zombie (Aka Zombi 2), City of the Living Dead (Aka The Gates of Hell), The House by the Cemetery, The Beyond, and The New York Ripper, his early career was a hodgepodge of film genres including comedies, spaghetti westerns, and poliziotteschi. However, many critics argue that his greatest films were his early gialli films like A Lizard in a Woman’s Skin and Don’t Torture a Duckling. Fulci was handicapped by terribly low budgets for most of his career but some of his earlier works were actually well-funded, allowing his cinematic craftsmanship to be on full display. Such was the case with Don’t Torture a Duckling.
As was the case with many gialli of the time period, the film titles were influenced by Argento’s first three gialli, collectively known as the “Animal Trilogy.
While Lucio Fulci made his reputation with a series of graphically violent horror movies like Zombie (Aka Zombi 2), City of the Living Dead (Aka The Gates of Hell), The House by the Cemetery, The Beyond, and The New York Ripper, his early career was a hodgepodge of film genres including comedies, spaghetti westerns, and poliziotteschi. However, many critics argue that his greatest films were his early gialli films like A Lizard in a Woman’s Skin and Don’t Torture a Duckling. Fulci was handicapped by terribly low budgets for most of his career but some of his earlier works were actually well-funded, allowing his cinematic craftsmanship to be on full display. Such was the case with Don’t Torture a Duckling.
As was the case with many gialli of the time period, the film titles were influenced by Argento’s first three gialli, collectively known as the “Animal Trilogy.
- 10/23/2017
- by Movie Geeks
- WeAreMovieGeeks.com
Inglorious Bastards Directed by Enzo Castellari When Tarantino opened the retrospective 'The Italian King of B's' at the 2004 Venice Biennale with Joe Dante, he publicly declared his love for Italian B-cinema of the 60s and 70s, helping to shine a spotlight on many forgotten gems of Italian genre/exploitation cinema including The Inglorious Bastards. Also known under the alternate titles of Hell's Heroes, The Deadly Mission, and G. I. Bro, Enzo G. Castellari's Bastards may have been a cash in on The Dirty Dozen, but its a successful one. A film with a concept so rich that one would understand it's influence on Tarantino, it's a fast paced knock-off reeking of untapped potential, just waiting for someone to remake it. While the film's obvious low budget prevented it from becoming a North American success, it still found a significant cult following (mostly in Europe) and is reputedly one of Quentin's favorite films.
- 8/7/2009
- by Ricky
- SoundOnSight
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