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Bloodstained Shadow / Solamente nero (1978)

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Director Antonio Bido's second and last giallo is an improvement on its predecessor, thanks largely to an atmospheric Venetian island setting and a much more polished feel all round. The locale gives colour to a fairly routine plot, coming as it did at the fag-end of the genre's heyday.

The House with Laughing Windows star Lino Capolicchio isn't the most riveting of leads it must be said. He looks as though the very act of thinking gives him a headache and hence alternates between frowning and grinning cheesily with no apparent middle ground. At least he had a beard to hide behind in Pupi Avati's film. Love interest Stefania Casini of Suspiria, too, is a little lacking, most likely because Bido and company's script doesn't really give her anything interesting to do.

As with Watch Me When I Kill, Bido studiously apes Argento throughout and does a fairly reasonable job of it, too, although a murder in a rainstorm witnessed through a window is so clumsily handled as to be comical. The great soundtrack, supposedly written by Stelvio Cipriani and performed by Goblin, further contributes to the Argento feel. It's thought that the prog rockers couldn't be credited as composers because of contractual issues with their record company.

Damned in Venice / Nero veneziano (1978)

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Visually it is difficult to fault Damned in Venice and it makes use of a delightful location. However, the first third the movie lacks focus and may well wear down many a casual viewer. Nevertheless, perseverance and a large dollop of patience brings with it it's own rewards and as the film begins to settle into a rhythm it becomes evident that there is a decent enough Rosemary's Baby meets The Omen lurking beneath the surface.

There is some occasional sexploitation to perk things up and decent gore including a priest decapitation by boat propeller which is ace and some pretty grizzly infanticide.

While competent enough, this material would have probably better suited Lucio Fulci in his early 80s horror film prime. Still, it's not awful for what it is.

Agent 3S3, Massacre in the Sun / Agente 3S3, massacro al sole (1966)

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The flaws in Sergio Sollima’s second Agent 3S3 film are made up for with enough appealing characters, diverting absurdity, and George Ardisson’s distinguished looks. It also benefits by having just the right amount of comedy to not seem too much like a spoof as well as an interesting touch of genre blending, as a brief shift to a frontier setting results in a few familiar Spaghetti Western motifs.

What does seem well intended but possibly misguided is the inclusion of an excessive number of villains, most of which have their own base of operations or ‘lairs’, so to speak, forcing the mind to wonder who is who or just what opposing party our hero is fighting against this time. Once viewers finally have things figured out, likely during the second viewing, it becomes apparent that the numerous conflicts and interactions between 3S3 and his adversaries offer a wide array of enjoyment. Of note is the amusing banter between 3S3 and Fernando Sancho, here enthusiastically playing a dictator orchestrating a revolution by day and enjoying his lair of muchachas by night.

Ardisson is practically flawless as Agent 3S3, skilled in all departments required for an agent to be able to carry an entire film on his shoulders, with the usual eye for beautiful women and at times agreeable gentlemanly smoothness, though he sometimes seems a little too proud to administer an hilarious spanking or the iconic bitch-slap if he feels it necessary.

Deported Women of the SS Special Section / Le Deportate della sezione special SS (1976)

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Deported Women of the SS Special Section is a stark, grey and grim melodrama from Werewolf Woman and Hanna D director Rino di Silvestro under the banner of Nazi exploitation.

The film features British actor John Steiner who should be considered an honorary Italian at this point, so often has the Englishman transplanted himself for the greater good of genre cinema, as a twisted and merciless Nazi officer who abuses his prisoners and subordinates alike in his relentless search for power…both political and sexual.

Dark and depressing colors join forces with solid cinematography from Cannibal Holocaust DP Sergio D’Offizi, while Di Silvestro’s storyline tends to concentrate more upon Steiner’s sexual hangups than the usual scenes of torture, degradation and abuse normally found within these sorts of films. The end result comes across almost as a bargain bin mixture of Tinto BrassSalon Kitty and Mattei’s Women’s Camp 119; a highbrow attempt at inserting some storytelling into a genre more comfortable with grimy exploitation which occasionally succeeds…but only for those with enough patience to muddle through some movie misery.

Man for Emmanuelle, A / Io, Emmanuelle (1969)

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Here is something that could’ve been a dull and shallow sex film, and because it’s not, some may be disappointed. It’s a sex film alright, but one that deals with the anguish and complicated sexual nature of its title character, played with infallible elegance by Erika Blanc.

The art-house film style will be a plus to some, and fans of the ‘60s will feel at home, but the film also offers good incentive to take it seriously since it concerns itself more with setting up an interesting character analysis and less with trying to arouse viewers, which it is still capable of doing, nonetheless.

There’s also some decent humor on display, especially from the segment with Adolfo Celi, but despite the occasional lightheartedness there’s also a downbeat vibe of melancholy peppered throughout the proceedings. There still ends up being something fulfilling about it all in the end, especially given the astounding 3-minute Emmanuelle theme song, played in full twice, and the vision of Blanc covered in milk is a classy and high quality work of art itself.

Codename: Wild Geese / Geheimcode: Wildganse (1984)

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Cult Italian director Antonio Margheriti, directing here under his usual pseudonym of Anthony M. Dawson, once again tries to compete with the crowded 80s action market with his 1984 effort Codename: Wild Geese. Margheriti, obviously attempting to cash in here on the equally cult British war film The Wild Geese, follows up his enjoyably shameless Indiana Jones offering Ark of the Sun God from earlier in the year with a film which employs all of the director’s tried ‘n true tricks of the trade.

Gratuitous explosions and adorably innocent miniature work manage to keep the wooden acting of lead Lewis Collins at bay, while the all-star supporting cast, which features Ernest Borgnine, Klaus Kinski and a long in the tooth Lee Van Cleef, deliver performances interested enough to push Codename: Wild Geese a notch above Margheriti’s later war effort Der Commander, while remaining significantly below the director’s ace 80s flicks Cannibal Apocalypse and The Last Hunter.

Sexy Euro starlet Mimsy Farmer shows up late in the film as a bit of junkie eye candy, but her part is more or less overshadowed by Borgnine’s goofiness and Kinski’s usual celluloid villainy. All the while, respected German prog act Eloy deliver a minimalistic keyboard soundtrack reminiscent of the typical, Tangerine Dream sound of the day. Codename: Wild Geese is the ultimate guilty pleasure for fans of 80s Italian trash.

Fifth Cord, The / Giornata nera per l'ariete (1971)

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Director Luigi Bazzoni delivers a very stylish, but sometimes convoluted giallo which stars Franco Nero as an alcoholic reporter investigating a string of murders that continually point to his involvement in them.

The plot isn't the greatest and a somewhat uninspired first half threatens to derail proceedings. Fortunately Vittorio Storaro's superb cinematography adds a much needed sense of claustrophobia and tension with wide angle lenses and oblique shapes and patterns photographed to a skill that rarely that is rarely seen outside of Argento's best work.

Bazzonni lays on the atmosphere with a Fulcilike trowel in the third act and tension is multiplied tenfold during the the last few nail biting minutes. Ennio Morricone delivers another fantastic score and Rossella Falk, Edward Purdom and Silvia Monti round out an exceptional cast.

The Fifth Cord isn't the best giallo around, but it benefits enormously from it's skilled direction, cinematography, acting and musical score that raise it into a higher league altogether.

Frankenstein 80 (1972)

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Directed with style and flair by Mario Mancini in 1972, it’s a shame that this sleazy little gem has yet to be released in any authoritative, cleaned up DVD release, with the only way to enjoy the curiously titled Frankenstein ’80 being on any number of dark and shoddy public domain releases.

At any rate, Frankenstein ’80 revisits the stitched flesh monster tale under the guise of a giallo, with our Doctor Frankenstein—played with stoic restraint by bodybuilding legend Gordon Mitchell building his beast and dubbing it ‘Mosaic’, Beast In Heat/Devil’s Wedding Night actor Xiro Papas. The good doctor’s creation has a fetish of its own for flesh, however…the soft and nubile kind of the film’s attractive, Euro-cult cast.

Renato Romano is the inspector on the trail of Frankenstein’s Mosaic monster, whose psychedelic slaughter escapades are shot with the colorful sort of flair reserved for the early giallo imagery of the time. As a result, Frankenstein ’80 comes across as a wonderful hybrid of the two styles; a unique film which merits a proper restoration job from some interested party

Super Seven Calling Cairo / Superseven chiama Cairo (1965)

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Umberto Lenzi’s resourceful Eurospy attempt is everything it’s expected to be, and with a title like Super Seven Calling Cairo and the anticipation of genre favorites like Roger, Fantastic Argoman, Browne and Rosalba Neri, it’s a film that is easy to get excited about, even if there isn’t any reasonable or logical explanation to watch it instead of the latest 007 instalment.

Browne and co-star Fabienne Dali make for a decent and passable pairing, and Neri is utilized for more than just her looks. The exotic visuals that the locales provide and nightclub dance performances intercut between scenes yield some nice eye candy to accompany the thin long line of events that make up a simple retrieve-the-dangerous-item-before-the-bad-guys-do story.

No one is trying to impress or fool anyone here; the production admits to its source material with a James Bond joke, and the unlikely effective gadgetry like a pen-gun and a shaver that turns into a transmitter get a lot of play and are a hoot everytime. There’s still an enjoyable movie here and fans of this sort of thing should expect to get what they’ve come for.

Merciless Man / Genova a mano armarta (1976)

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A frustratingly bizarre and convoluted poliziotteschi which stars The French Connection's Tony Lo Bianco as an ex U.S cop turned private eye trying to solve a kidnapping in Genoa. Director Mario Lanfranchi seems inept at crafting either an intriguing plot or at least entertaining action scenes.The plot borders on Fulci like incoherency at times with Bianco lurching from one scene to the next with little plot progression and major lapses in logic. Bad guys turn up randomly about every ten minutes for a punch up or shoot out but even the action isn't up to much either. With all that said Bianco seems to be having a blast with the role and he has to deal with not just one, but two Bond villains in the shape of Octopussy herself Maud Adams and Thunderball's Adolfo Celi as a cranky Genoa cop.

Even a fantastic Franco Micalizzi crime score can't save this from being for die hard fans of the genre only.

Devil’s Nightmare / La plus longue nuit du diable (1971)

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This atmospheric little film from director Jean Brismee is a fairly common culprit on the public domain circuit, often finding its way on the fifty film multipacks available at local chain retailers. While Redemption’s older DVD release of this film serves as the definitive version of Devil’s Nightmare at this point, even the more commonly found versions of Brismee’s epic serve as engrossing viewing, thanks primarily to the erotic, captivating presence of Erika Blanc as a vengeful succubus.

While Blanc is, of course, focused upon by Brismee as the film’s main point of interest, Devil’s Nightmare succeeds on a number of other levels, one of which is the nice melding of the gothic and giallo genres achieved by Brismee and his composer Alessandro Alessandroni, whose iconic score, featuring the inimitable vocals of Edda Dell’Orso, lifts Devil’s Nightmare into the upper echelon of is genre, alongside Bava’s Black Sunday and Mario Caiano’s Nightmare Castle.

Superargo vs. Diabolicus / Superargo contro Diabolikus (1966)

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By substituting the usual suit and tied secret agent with a masked superhero agent, Superargo vs. Diabolicus manages to procure an interesting, new way of continuing to milk the familiar, Dr. No influenced, Eurospy plot.

Castle of Blood’s Giovanni Cianfriglia, Steve Reeves' stunt double, is more than physically capable for the role, with the right build to actually match Superargo’s physique depicted in the film’s poster art, unlike several other actors in the Italian Superhero milieu.

A fun pro-wrestling match, involving Superargo accidentally misusing his super powers and killing his friend, starts things off really well. A depiction of an emotionally tormented hero follows during the intro credits, a torment that is eventually resolved over the course of the film, as indicated with an up-close, slow, and heart-warming grin/smile from Cianfriglia over the ending credits, bidding viewers adieu until the sequel, Superargo and the Faceless Giants

Enter the Devil / L’ossessa (1974)

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Although Enter the Devil is known by a bevy of names—found on most public domain sets under the misleading Eerie Midnight Horror Show title—a cursory viewing will immediately set the ‘Italo-cult’ buzzers blazing for most fans, with director Mario Gariazzo’s penchant for sleaze set on display in spades.

Indeed, this sub-Exorcist yarn from Gariazzo and screenwriter Ambrogio Molteni sets up with plenty of blasphemy, nudity and overall perverse shenanigans, likely to please fans of the director’s notoriously explicit giallo, Play Motel. Make no mistake: Enter the Devil is tried ‘n true exploitation, with particular attention paid to the lovely form of virginal lead Stella Carnacina as she falls under the perverse spell of Ivan Rassimov as, yes…The Devil!

Whippings, crucifixion and sexual shenanigans follow, with even Gabrielle‘Mr. Laura GemserTinti and Luigi Pistilli making appearances here and there in this satisfyingly low brow exercise in devil worship, possession and gratuitous sex.

Kerim, Son of the Sheik / Il figlio dello sceicco (1962)

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Kerim, Son of the Sheik tries so hard to be an epic but it is such a disinterested affair. There is very little in the way of story and the film consists mostly of footage of men on horseback racing through the desert. The dramatic musical cues eventually become annoying after they are repeated for the nth time but there is nothing else to really dislike here. There isn't much to recommend about it all either. It's all little more than run-of-the-mill matinee fare. Gordon Scott stars.

Kiss the Girls and Make Them Die / Se tutte le donne del mondo (1966)

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A comedic, easy-to-watch spy-fi that despite its lurid title is still the fun, lighthearted Eurospy it’s expected to be with a slightly bigger budget than most of its brethren thanks to some generous funding by producer Dino De Laurentiis.

The studio interiors and set pieces are a remarkable lot, with a women preservation factory devised by the main villain, played by Raf Vallone, being a key highlight. Also worth mentioning is an impressive chase filmed atop the Christ the Redeemer statue in Rio de Janeiro that involves a vertigo-inducing helicopter-escape stunt performed by lead actor Mike Connors.

Connors and Dorothy Provine play an appealing pair of agents with exceptional acting and are flanked by an amusing chauffeur, played with deadpan perfection by Terry-Thomas, whose Rolls-Royce is souped-up with some of the best tricks and spy gadgetry no fan should go without seeing.

Cobra Mission (1986)

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Cobra Mission succeeds primarily due to the quality of its casting and the enjoyably over the top nature of the writing and plot. Genre vets Christopher Connnelly, Gordon Mitchell, John Steiner, and Donald Pleasance appear in this tale of a group of disenfranchised Vietnam vets who, unable to find a proper place in society after their return home, decide to return to the jungle, in order to rescue those soldiers left behind in the camps.

The overall vibe of Cobra Mission is similar to that of Deodato’s Raiders of Atlantis, also starring Connelly, in that it features tons of action set pieces, bolstered by the cheeky scenery chewing of Connelly, Steiner and company. The flick is also notable for featuring some surprises along the way in terms of the downbeat turn of events which often befall our heroes. Without giving too much away, director Fabrizio DeAngelis should be commended providing Cobra Mission with enough surprises along the way to lift the usually low expectations associated with this sort of film.

Day of violence / Operazione Kappa: Sparate a vista (1977)

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With many Italian crime films of the 70's aping the American cop thriller, Day of violence plays more or less as a rip off of Al Pacino's Dog Day Afternoon with a sprinkle of The House at the Edge of the Park thrown in for good measure. After two guys meet at a party, they end up killing a woman and try to evade the police by holing themselves up in a restaurant taking the customers hostage and make their demands known to the police.

The minuscule budget of the film shows given that the second of half the movie is set solely in the restaurant with little action or excitement in the first except an attempted rape which sets up the events which follow. The restaurant part is what really lets this film down. Similar themed single setting scenario's like House at the Edge of the Park dealt with class clashes and had interesting dialogue between antagonists and protagonists interspersed with regular and disturbing sexual violence. This falls flat with boring bad guy dialogue toying with the scared customers for what seems like an eternity and despite it's title, crime and exploitation fans will sadly find little in the way of any real violence. With a no budget crime film, an interesting and engaging plot is essential. Sadly, this film only has about 50% of a good script. Whilst not the worst, it would only be recommended to diehard fans of the genre.

Plaudits though to Bixio-Frizzi-Tempera who deliver a mighty high octane funk score which deserves a better film to attach itself. Also, the credits list the rather amusing name of Patricia Pilchard as one of its stars!

Flashman / Flashman contre les hommes invisibles (1967)

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The campy, cool Batman-esque theme song used over the intro credits really gets the party started in this costumed superhero romp starring an above average Paolo Gozlino in the title role.

Opting instead to keep the pace up and antics high, the screenplay by Ernesto Gastaldi isn’t really the smartest, though in this genre it doesn’t have to be. Key to the plot and entertainment is an invisibility serum that both the hero and villains alike get ahold of with the resulting visual effects being hit and miss at times; however, it’s most amusing to watch the actors attempt to engage or fight with an invisible person.

It’s hard to say who ran atop a moving train to save the day better, Argoman or Flashman, and though neither superhero can fly, Flashman makes up for this with some entertaining parasailing scenes.

Easily recommended for Eurospy fans, this is great fun with topnotch babes and a kickass hero.

Sweet Teen / L’adolescente (1976)

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L’Adolescente is the sort of bawdy, Italian comedy that delivers on almost all of this admittedly niche genre’s established points. Of course, the main point to this sort of farce is the presence of some fine Italian flesh, in this case the double shot of former Miss Italy Daniela Giordano and Sonia Vivani, while the equally legendary Marisa Longo and giallo sexpot Dagmar Lassander make appearances as the mistress/secretary of lead Tuccio Musumeci.

The plot starts off deceptively simple enough, as Tuccio marries a young woman, Giordano, who continually avoids consummating their union. Lies are told, webs are spun and paths soon become crossed and convoluted, however, while Brescia smartly fills the screen every few minutes or so with gratuitous nudity from Vivani, Lassander, Giordano and company. Funny and sexy to a fault, L’adolescente may be crude and crass…but the film delivers where it counts for fans of sleazy, slapstick comedy…Italian style.

Beach House / Casotto (1977)

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In a funny kind of way some of the promotional artwork out there for Casotto makes the film look like one of those screwball American cheerleader or Porkies type comedies. This really does give the wrong impression of what the film is about.

Yes, it is a comedy and at times a little bit goofy. But, the film is far smarter than that. It makes wonderful observations about life and its flawed characters are, despite the obvious exaggerations, recognisable as the scheming, the vain, the pious, the hypocritical, the manipulative, the chaste and so on. It's life in microcosm

The film is set in one room. That room is a changing room on a beach or a beach-house and the characters reveal more of their inner selves as they interact with each brief visit. Highlights include a sunburned couple who seek a quiet moment to make love without touching, a man with two dicks and the competition for female companionship between two wide-boys from Rome and two posers from Torino with tissue paper stuffed down their trunks.

The star billing goes to a fifteen year old Jodie Foster but there are also turns from director Michele Placido, Ugo Tognazzi and a brief dream sequence appearance for Catherine Deneuve amongst this heavy-hitting cast. The result is intelligent and, to be honest, near brilliant. Writer Vincenzo Cerami also penned the award winning Life Is Beautiful while Pasolini collaborator Sergio Citti directs.
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