While their contributions to horror and exploitation cinema in the ’70s and ’80s can never be understated, the Italians had a funny habit of co-opting unrelated movies and branding them as sequels to one another despite the fact that they were never designed as such. When Lucio Fulci made his classic Zombie in 1979, it was released as Zombi 2 in Europe despite having nothing to do with George A. Romero’s Dawn of the Dead, originally released as Zombi overseas. Sam Raimi’s first two Evil Dead films played under the titles La Casa and La Casa 2, which wouldn’t be anything unusual if there weren’t three more totally unrelated La Casa movies released after the fact. The implication is that these movies were sequels to the Evil Dead series. They were not.
Thanks to Scream Factory, two of those films are hitting Blu-ray on one double feature disc under their American titles,...
Thanks to Scream Factory, two of those films are hitting Blu-ray on one double feature disc under their American titles,...
- 6/23/2015
- by Patrick Bromley
- DailyDead
There's no denying that Italian director Dario Argento is something of a legend among horror fans, myself included, but equally there's no denying that he hasn't really done anything not only of note, but even remotely interesting in the film department in perhaps the last couple of decades. Granted, he did turn in a couple of half decent episodes of Mick Gariss's mostly enjoyable Masters of Horror offerings, but even they weren't a patch on his earlier work, of which one of the finest examples is Tenebrae.
Lumped in with the Video Nasties business nearly thirty years ago (yes, it was that long ago), Tenebrae is a wonderfully deceptive film in that every time I sit down to watch it, and I confess it's been a good decade since my last viewing, I always remember it as being a dark, serious movie, but in reality it's a very funny film,...
Lumped in with the Video Nasties business nearly thirty years ago (yes, it was that long ago), Tenebrae is a wonderfully deceptive film in that every time I sit down to watch it, and I confess it's been a good decade since my last viewing, I always remember it as being a dark, serious movie, but in reality it's a very funny film,...
- 1/9/2014
- Shadowlocked
Chicago – “Framing a shot?” asks Ida (Christine Boisson), the latest photogenic lover of Italian filmmaker Niccolò (Tomas Milian), in Michelangelo Antonioni’s hypnotic 1982 effort, “Identification of a Woman.” Like Guidio, the hero of Federico Fellini’s 1963 masterpiece, “8 1/2,” Niccolò has the desire to create but has no story to tell, just “an idea of the female form” that perpetually haunts his imagination.
Regardless of his efforts to move on, Niccolò’s past threatens to consume him. The alarm systems left by his paranoid ex-wife are still present in his apartment, forcing him to dodge cameras and sirens while entering his own residence. This sequence takes place at the top of the picture, and is rather amusing but also terribly sad. The same could be said about much of what follows in this voyeuristic meditation on sexual and artistic obsession.
Blu-ray Rating: 3.5/5.0
Moviegoers frustrated with Antonioni’s enigmatic explorations of ennui among...
Regardless of his efforts to move on, Niccolò’s past threatens to consume him. The alarm systems left by his paranoid ex-wife are still present in his apartment, forcing him to dodge cameras and sirens while entering his own residence. This sequence takes place at the top of the picture, and is rather amusing but also terribly sad. The same could be said about much of what follows in this voyeuristic meditation on sexual and artistic obsession.
Blu-ray Rating: 3.5/5.0
Moviegoers frustrated with Antonioni’s enigmatic explorations of ennui among...
- 11/8/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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