Reviews by hulkargh

Above all, do not trust the poster (this is not a horror film) or the title (we expect a "rape & revenge", it is not)
It's just a small exploitation film (with the appearance of a TV movie) not really innovative and even quite minimalist. There is a mundane main storyline and a side storyline that awkwardly grafted there (all or nothing is in the poster and the title!).
To forget quickly !

The living dead are still impressive in this tetralogy known as The Templars but the pace is less sustained compared to the first two (more successful).
Despite clearly reduced resources and however very well used, such a story would have deserved more daring and also a little bit...eroticism.

If it is well behind the best Italian westerns of the time (those of Sergio Leone and Sergio Corbucci of course), "The Rope and the Colt" remains an endearing film because it is atypical and oddly nonchalant in the image of its main character played by the regretted Robert Hossein.
Few scenes of violence but an unpredictable plot that often turns the situation around and big plans of the face (tribute to Sergio Leone, to whom the film is dedicated), especially the one charming of the magnificent Michèle Mercier.
To discover!

A horror film failed or in any case a little too smooth. The pitch was frankly promising and it should have been illustrated by an atmosphere of schizophrenic madness which, as it is, turns out cruelly boring.
Instead, chatter, no dread, no shocking scenes (except a shot at the end that plagiarizes the founder "Psychosis" of Hitchcock), a false suspense and a soundtrack sometimes too perky (a shame for a supposedly scary film). Come on, let's forget!

Still a guilty pleasure that this movie of Ruggero "Cannibal Holocaust" Deodato that some
will treat turnip but which for me looks like one of the last bursts of the European bis
(we are in 1993).
"The Washing Machine" follows without too much boredom like a detective story of the kind "plot" (no, it's not a giallo) cleverly spiced up with erotic scenes that are worth a look thanks to its three superb main actresses, whose sculptural physical (Ilaria Borrelli and Barbara Ricci) even busty (Katarzyna Figura) should spin a "stick" to all the bis-fans a bit naughty of the planet Cinema.
In short, good "neighborhood cinema" ("cinéma de quartier" in french), the kind of film a little despised these days. I do not care : I like this!

Cinema bis a little broke but in the end very pleasant and even sometimes jubilant.
Despite derisory means, this story of a possessed nurse conceals some charms (to start with those of the two main actresses, Jill "Sherri" Jacobson and Marilyn Joi who plays the no less busty colleague of the main character) and above all plays the grotesque card with a sincerity that leaves admiration.
That was the exploitation cinema: broke, of course, but provoking for the spectator a real guilty pleasure ...
P.S .: there are two different montages: the "horror" version and a "sexploitation" version
more ... hot; D

Almost everything in this film takes us back to the blessed era of the 60's / 70's giallo:
the aesthetics, the sets, the soundtrack (excellent) of Luciano Onetti (director / composer
from another neo-giallo: the successful "Francesca"), a certain way of filming, a small dose
of eroticism ... so many ingredients that lead to enthusiasm.
Too bad, however, that "Abrakadabra" is weighed down by a final quarter of an hour where the resolution of the case turns out to be sloppy and unsatisfactory in terms of script.
Remains a great vintage atmosphere and some very beautiful plans that will delight undoubtedly the amateurs of these bloody sweets offered long ago by the transalpine cinema.

The regretted Kim Ki Duk clearly marked South Korean cinema in the 2000s.
This "Bow" which looks at itself (no: contemplates itself ...) like a fable at the same time strange and disturbing on old age and the confrontation between modernity and tradition, a fable strewn with pieces sublime poetry and comic-tragic moments.
And it is also to a face that "The Bow" owes all its beauty, that of Han Yeo-reum, one of the most beautiful seen in Asian cinema, made of innocence, strength and love, a shared love that hesitates between the comfort of traditional wisdom and the promise of new horizon.
Kim Ki Duk achieved a film as elusive and uncluttered as it is magnificent and tormented. The kind of movie we would like to see more often.

Five years after the already very successful "Erik the Conqueror", Mario Bava makes another peplum in the great tradition of the time, peplum however a little atypical because it sometimes looks like a quasi- "leonian" western with its dark anti-hero figure with an unimpressive past and appeared from a little nowhere (and setting off again on horseback in the twilight at the end ...).
And no one other than Cameron Mitchell could better embody this "Viking cowboy" at the throw of unstoppable knives (what a face!).
In short, if the great Bava remains for me one of the giallo giants, its rigorous sense of staging has also made him one of the references of the Italian peplum of the sixties.

Very typical of the 80s productions at least aesthetically, "The Monster Squad" looks at the same time as a mix between "The Goonies" and a parody of the old films of the Hammer.
If he does not have the paw of a Zemeckis or a Spielberg, the director Fred Dekker nevertheless ensures the spectacle thanks to a good dose of second degree assumed. Efficient, funny, a little clumsy too, but fundamentally entertaining.
Allergic to the 80s, abstain!