Dreams and nightmares are the fuel of most good horrors and thrillers. From antiquity to the modern novel and all the way through to cinema and videogames, it is a fertile ground to launch any kind of journey of uncertainty. In The Initiation, a dream is all main character Kelly Fairchild has to go on. Too bad someone is stalking her at the same time. Trailer (NSFW) and review after the jump.
Have you ever wanted a slasher movie where the drama is more important than the kills? Some nubile young people, a murdering nutter, a batpoop insane curse, hammy acting and more combine to make up the crazy Satan’s Blade, a film that prides itself with withholding just the twist and only the twist. Trailer and review after the break.
If nothing else, Return of the Killer Tomatoes is proof that you don’t need to see an obscure film in order to get sucked into its sequel. Attack of the Killer Tomatoes was a weird, funny film but when its first sequel came out in 1988, few people would have remembered instantly the first movie. And why would you when you have George Clooney as a sidekick, the gorgeous Karen Mistal as Tara and John Astin hamming it up as the evil and insane Prof. Gangreen? Trailer and review after the break.
Emilio Miraglia is an Italian director who was most active in the 1970’s. He directed around six features (though he could have worked uncredited in more) and then vanished from the scene (literally). While he directed different genres, he’s most famous for two features: The Night Evelyn Came Out of the Grave (La notte che Evelyn uscì dalla tomba) and The Red Queen Kills Seven Times (La dama rossa uccide sette volte). Trailers (NSFW!) and more after the break.
If there is one great performance in Orson Welles’ career (and if we’re being honest he had lots of great performances), one role that people see him and say “that’s Orson Welles!” it would be…..Citizen Kane. A triumph of cinema, Kane is one of the most well constructed films in American cinema and rightly is Welles’ crowning achievement as a filmmaker. But his greatest role is not Charles Foster Kane, it’s a medicine smuggler and conman called Harry Lime. Only Harry’s friend, Holly Martins, knows who is his friend is. But even as Holly goes looking for his friend in post-war Vienna, even he is left wondering in The Third Man, Carol Reed’s crime and punishment masterpiece: Who IS Harry Lime?
Now that I’m finishing up February’s review list (I know, hilarious!), it’s time to turn to cinema and home video reviews for March for Capricorn Theater Reviews. Again, I don’t if I’ll keep going with this but it’s keeping me to a schedule and that can’t be a bad thing. Lots of explosions and animation follows the jump.
So I decided to try out posting each month about the reviews and other stuff happening on Capricorn Theater Reviews as a way of keeping myself on track and keeping a steady stream of reviews (I refuse to use the word content) going while I attend college. I don’t know if this kind of post will appear every month but I’ll try my best to make it a regular thing.
I was going over my notes for the Summer of ’86 and had some thoughts come up. It’s not a post or review, just some points of order.
I love watching Italian Giallo films and after a few false starts, I got stuck into a proper Giallo film by a man who pretty much invented or helped to invent the genre as we know it today. Deep Red is a classic murder mystery with lashings of blood, violence and non-sequitur characters that lead you down one path and back up others told by a filmmaker who, at least in this project, knows exactly what he’s doing.
Lucio Fulci has many films to his credit that exemplify his talents as one of Italy’s foremost horror directors. Zombie Flesh Eaters, City of the Living Dead and The Beyond to name a few and those were his most celebrated but he had a career spanning three decades. A lot of his projects were deliberate choices, creative endeavours so The Black Cat might seem an odd choice for Fulci but between his directing style and the way the film turned out, I think it’s one of Fulci’s better films.