Posted in: Disc Reviews by Gino Sassani on May 5th, 2011
There are a lot of films that I never expected to see on Blu-ray, at least not for many years. With so many blockbusters still not available in high definition, it's not reasonable to expect that some of the gems you've loved for years, but with limited marketability, would soon find their way to your home theater in HD. If you had asked me a short time ago to list some of those treasures, I think that The Terror would have easily made the list. This is one of those times that it feels good to be wrong, and The Terror might end up being the best surprise release of the year.
Lt. Andre Duvalier (Nicholson) has been separated from his regiment in Napoleon's French army. He finds himself somewhere in The Baltics on the coast. He's tired and near exhaustion when he spots an attractive young woman named Helene (Knight). She leads him to fresh water and a chance to rest. But when she leads him into the surf and disappears, the young soldier is nearly killed. He's rescued by an old woman named Katrina (Neumann). When he tells her about the girl, he's admonished that there is no such person in the area. But he sees her again, and once again is nearly led to his death. Finally a servant of Katrina's tells him he will find the girl at the castle of Baron Von Leppe (Karloff).
Posted in: Disc Reviews by Gino Sassani on April 30th, 2011
When you want to get the most bang for your buck in a low-budget 1980's slasher film, you could do a lot worse than The Dorm That Dripped Blood. It's an elusive film that has never really enjoyed much of any kind of wide release even in the video market. It was really nothing more than a student film put together as a thesis for UCLA students Stephen Carpenter and Jeffrey Obrow. Like most student films, the piece utilizes locations on the UCLA campus and makes use of local talent both in front of the camera and behind. But this movie doesn't look like any student film you've ever seen before. With almost no budget, the team managed to make a film that was remarkably professional in the way it looked. The cinematography showed style that usually takes years or decades to develop. There's none of the usual amateur mistakes, and you'd be hard pressed to find it not worthy of the rest of the films coming out of that genre and that time. The film went through various name changes and has been seen in many forms over the years. You might know it as The Prank or Death Dorm. Whatever you might call it, I call it one of the best slasher films that you probably never heard of.
The story is simple. There are no complicated set-ups. There's no convoluted back story or supernatural urban legend to kick things off. Don't worry about getting to know the characters very well. It doesn't matter. They're merely killer fodder, and we'll get to know them about as well as we need.
Posted in: Disc Reviews by Gino Sassani on April 20th, 2011
"I guess every town has their own boogeyman stories... There's always a moral, mainly don't pick on the nerdy kids, don't have pre-marital sex, don't do drugs."
Posted in: Disc Reviews by Gino Sassani on April 20th, 2011
"A trip down memory lane and right into harm's way."
From the first frame to the final credit sequence, you will at once feel like you're watching some lost 1980's slasher film that was somehow misplaced among the entire generation of low-budget formula horror films. The music sounds almost like a direct rip-off of John Carpenter's Halloween theme, and that's not intended as an insult. The cheap synth track was the soundtrack for an entire generation of late-night-date movie-goers from the mid 1970's until the 80's ended. Director Drew Rosas is obviously a true fan of the era and genre. I've seen too many attempts to capture that look and feel before. But there's something a little different about this one. Rosas has more than just a sound-alike score going for him. The film stock looks like it was lifted right out of a time warp stuck in 1978. There are even well-placed scratches and dirt artifacts to give the film an aged look. Beyond that, there is a texture to it all that defies coherent description. You know it when you see it, and Drew Rosas apparently knows it, because I saw it on Blood Junkies.
Posted in: Disc Reviews by David Annandale on April 5th, 2011
Three years after her unsettling turn in Dario Argento's Four Flies on Grey Velvet (1971), Mimsy Farmer headlined this giallo-related effort by director/co-writer Francesco Barilli. She plays a successful chemist on the verge of a psychotic break. She has been haunted since her childhood by the death of her father, and she has recurring memories (or are they fantasies?) of her mother in the arms of a sinister man. Her sense of reality crumbles as objects and people from her past appear and vanish. She retreats deeper and deeper into a paranoid shell. But just because you're paranoid doesn't mean they aren't out to get you, and there are signs that she may be the victim of a sinister conspiracy.
By the time Barilli's film reaches its admittedly chilling finale, it has ceased to make a lick of sense. This isn't necessarily a bad thing: many gialli (and related Italian horror films) follow a logic that belongs to dreams rather than the real world. But even as Barilli adopts a stately pace (all of the violence in the film is reserved for the last fifteen minutes), he also tries to do too much, as if he were trying to fuse Repulsion with The Wicker Man. The film's head-scratching aspects get in the way of the fist-in-the-gut denouement, or at least prevent it from having quite the impact it deserves. However, the film is handsomely shot, and the ending is sufficiently powerful that it will linger in the mind.
Posted in: Disc Reviews by David Annandale on April 1st, 2011
One of the (many) reasons that Scream 3 was such a weak entry is that it tried to riff on the rules of trilogies, when, at the time of its release, there really weren't any horror film trilogies, with notable exception of the Omen series (and the not-so-notable exception of the trio kicked off by Captive Wild Woman in 1943). But the last few years have seen the completion of two horror trilogies, whose third parts were a very long time in coming. Dario Argento wrapped up his Three Mothers trilogy with the disappointing Mother of Tears in 2007. And now, hitting home video, is a primal roar that also happens to be José Mojica Marins' 2008 conclusion to his Coffin Joe saga.
Despite his enormous list of crimes and his total lack of repentance, Coffin Joe (Marins) is released from prison after serving a mere 40 years. Administrative bungling appears to lie behind his freedom – a hint of the vein of mordant humour that runs through the film. Met outside prison by his hunchbacked assistant Bruno (Rui Rezende), Joe is at first thrown by the 21st-Century metropolis he finds himself in, and Marins has some fun with the Gothic and wildly out-of-place Joe and Bruno stumbling along through the traffic. But things take a darker turn very quickly, once Joe is back in the slums, and embarks once more on his quest for the superior woman who will bear his son, and ensure the immortal continuity of his blood.
Posted in: Disc Reviews by Gino Sassani on March 24th, 2011
"Don't let the love of your life leave you for a damned Gringo. Come and see us, and I guarantee you that we'll save your life. United Parapsychologists Of America. Esoteric jobs, spiritual cleansing, taxes and immigration papers..."
If ever there was a movie that should have fired its marketing department, it's Zombie Farm. If you read any of the descriptions or look at the cover art, you are expecting this to be one of thousands of movies that offer up gritty images, plenty of gore, and a tried and true, but getting tired formula. Nothing can be further from the truth. Zombie Farm isn't any of those things. And I couldn't be happier that that's the case. Don't judge this one by its cover, or you're likely to miss out on a good time.
Posted in: Disc Reviews by Gino Sassani on March 11th, 2011
"I guess if this is the first you're hearing about it, I know how this must all sound."
Unless you've been in a coma like the lead character of The Walking Dead, you've been hearing a lot about this AMC television series of late. It's no wonder. I'm amazed that it's taken so long to see a zombie television series. The show has incredible visuals. There's a courtyard scene at the beginning of the pilot that is as impressive as anything you've seen in a movie. And when a character has to shoot a 6-year-old girl in the head, you understand instantly that this is going to be something unique.
Posted in: Disc Reviews by David Annandale on March 3rd, 2011
Paula (Carmen Montes), a dancer at a strip club, is arrested for the murder of Paula (Paula Davis), a fellow dancer. The arresting officer (Lina Romay) questions the near-catatonic Paula, and the rest of the film is a slow-motion, flashback of the dead Paula dancing, the two women making love, and the murder. Once the slow-mo begins, there is no further dialogue, except for a cryptic fable that Paula tells to the camera.
Jess Franco's latest effort is his most minimalist, and in some ways most personal, film to date. There is no set to speak of: the film was obviously shot in Franco and Romay's apartment, which doubles for both the home of the Paulas and, perhaps, the police station. I say “perhaps” because the notion of any definable space is a very tenuous one in this film. The only set dressing consists of a few aluminum screens, which play a role in the zero-budgeted surrealist effects. As has been pointed out elsewhere, there is nothing groundbreaking about the effects the Franco conjures here. The kaleidoscopic images, frequently involving Davis fusing and splitting from her double, would not have been out of place in the 1960s, and aren't going to break the back of even the most basic computer editing suite today.
Posted in: Disc Reviews by David Annandale on February 24th, 2011
Haunted my recurring nightmares, crippled Melissa (Mona Proust), the heiress to a huge fortune, falls under the care of Dr. Orloff (William Berger). Unforunately, Orloff doesn't have Melissa's best interests at heart. Still enraged over having failed to win the lover of Melissa's mother, Orloff enacts his revenge by using his hypnotic powers to transform Melissa into a killing machine. One by one, the distinctly unsavory members of Melissa's family fall under the knife.
A 1973 effort by Jess Franco, the god-emperor of Eurosleaze, this is a pretty handsome film. Franco doesn't abuse the zoom lens quite as much as elsewhere, and he makes excellent use of his Gothic settings, especially in a remarkably strong stalk-and-kill sequence late in the film. There are quite a number of truly beautiful scenes, showing what Franco is capable of when he's interested. Meanwhile, the violence and nudity are very restrained by Franco standards, but the characters are just as depraved and twisted as ever (that's a good thing). The score (by Franco), meanwhile, varies from the disturbingly effective (abstract soundscapes punching home the nightmare Melissa is trapped in) to the WTF laughable (a folk song so dire it will live forever). This isn't Franco's best work, but it has a lot going for it, and fans are strongly advised to check it out, with two strong caveats in mind. One is that the subtitles are horrendous. The grammar is all over the map, vocabulary is mind-boggling (one character is “condoned as a pedophile”), and the subs go missing altogether for the entire sequence that explains Orloff's motivation! That's helpful! The other problem is the picture quality, about which more below.
![The Terror [Blu-Ray + DVD Combo Pack] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-terror-blu-ray-dvd-combo-pac-large.jpg)
![The Dorm That Dripped Blood [Blu-ray + DVD Combo Pack] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-dorm-that-dripped-blood-blu-ra-large.jpg)
![The Walking Dead: Season One [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-walking-dead-season-one-blu--large.jpg)
