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Post by Marxo Grouch on Oct 3, 2024 4:47:32 GMT -5
The Red House (1947), which always gets awkwardly shoehorned into discussions about film noir and the most aridly fallow period of American horror cinema, even though it's really a very well-disguised gothic mystery... Wow, you really nailed the analogy. That never occurred to me. It's an overbaked movie in many ways, but I like it. I've always had a soft spot for Daves. He made some very interesting films. |
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El Santo
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Post by El Santo on Nov 3, 2024 14:28:36 GMT -5
Here's my field report from the 2024 Drive-In Super Monster-Rama and then some. I'd already reviewed everything from Roger Corman Tribute Night, but most of the Italian Horror Night program was new to me: A Blade in the Dark (1983), which started out as a four-part TV miniseries, and might have been at least slightly better if it had remained one... Cemetery Man (1993), which might be the Gen-Xiest movie ever made by a bunch of people born in the 50's... and... Opera (1987), which I was all set to praise as Dario Argento's best pure giallo until he went and got Dario Argento all over it. Meanwhile, I also saw all these over the past month or so: House of the Living Dead (1973), a strange and in some ways extremely old-fashioned gothic from South Africa, of all places... The Substance (2024), in which regaining one's youth isn't all it's cracked up to be... Sword of the Valiant (1983), in which Stephen Week's second go-round with the legend of Sir Gawain and the Green Knight goes awry completely differently from his first... and... The Turn of the Screw (1989), in which I finally complete the set for Showtime's old "Nightmare Classics" package of made-for-TV mini-movies |
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