Series: Film / TV

Monster of Venice directed by Dino Tavella

Pop quiz: Can you name a film in which a serial killer stalks the byways and canals of Venice? If your answer is Nicolas Roeg’s 1973 film Don’t Look Now, a glass of Chianti for you! If you came up with the more obscure film Who Saw Her Die?, a giallo picture directed by Aldo Lado in 1972, well, you’ve just earned yourself two glasses of Marchesi Antinori! And if your response was the extremely obscure Monster of Venice,

Tomb of Torture directed by Antonio Boccaci

1963 was a very good year for the Italian horror film. In February, cinematographer-turned-director Mario Bava started the giallo ball rolling with the release of his seminal The Girl Who Knew Too Much, and he would follow up that August with back-to-back releases of two of his most beloved films, Black Sabbath and The Whip and the Body. Riccardo Freda’s The Ghost, starring Barbara Steele, came out in late March,

The Hanging Woman directed by Jose Luis Merino

Paul Naschy, the so-called “Boris Karloff of Spain,” was apparently very proud of the work he turned in for Jose Luis Merino’s 1973 cult favorite The Hanging Woman. In an interview taped for the Troma DVD release, shortly before his death from pancreatic cancer in 2009, Naschy revealed that he initially turned the part down, only accepting after Merino allowed him to add some “dimensionality” to the small role of Igor, a grave digger who is murdered shortly after the film’s midpoint. Naschy rewrote the part,

The Blancheville Monster directed by Alberto de Martino

The shadow cast by Mario Bava’s seminal 1960 film Black Sunday was indeed a long one on the Italian horror industry. Three years later, in Alberto de Martino’s The Blancheville Monster, we find its cousin, a Gothic-tinged, B&W horror outing with a familiar tone but nowhere near as much artful impact.

In the film, beautiful Emily de Blancheville (Ombrella Colli) returns to her ancestral castle, in Brittany in the year 1884, after finishing her years in college.

The Lost Continent directed by Michael Carreras

There is a word, “serendipity,” that Webster’s defines as “an instance of finding valuable or agreeable things not sought for,” and I suppose that this would be the precise word to describe my experience with the 1968 film The Lost Continent. I had set my DVR at home to record a film that I thought to be the old Cesar Romero film from 1951, Lost Continent, a childhood favorite, and wound up getting this one instead. I was very disappointed when I discovered my error,

The Disembodied directed by Walter Grauman

Sometimes, all it takes is one decent, interesting and/or sexy performance to salvage an otherwise lackluster film from complete uselessness. To demonstrate the veracity of this statement, I give you The Disembodied, a rather silly and borderline confusing voodoo film that is of interest today solely for the performance of its leading lady, Allison Hayes. When The Disembodied was first released in August 1957, it was part of a double bill, playing alongside the now legendary From Hell It Came,

Satan’s Blood directed by Carlos Puerto

The death of Generalissimo Francisco Franco in November 1975 meant not only the end of a 39-year repressive regime for the people of Spain, and the ushering in of democracy, but the dawn of a new freedom in the cinematic arts, as well. With the effective ending, in 1977, of the strict censorship laws that had hamstrung filmmakers for decades, a new looseness was engendered. Films could now be released that contained nudity, sexual themes, and violent and horrific elements … provided, of course, that the film was tagged with the “Clasificada S”