Short Attention Span Review - The Psychic (1977)

Short Attention Span Review - The Psychic (1977)

I greatly enjoy Lucio Fulci's gruesome outings, landmark horror films where no eye is safe and the camera lingers lovingly on gaping wounds.  Much to my surprise, this 1977 effort is a wonderful example of Giallo, and while there are a couple of typical Fulci staples in play, it is far more subdued and . . . well, . . . sensible than much of his work.  To be perfectly clear, I think it ranks among the best of this rich subgenre for much of its runtime, and it boasts a particularly vivid and intriguing opening.  Jennifer O'Neill is a perfect choice for the heroine, and she carries the show from start to finish without missing a note.  Everything about this one is a winner, to include an excellent score and some particularly striking cinematography courtesy of the wonderful Sergio Salvati.  While someone looking for another grand gross-out from a man who made many of the best might find this far too tame for their liking, it is a wonderful surprise for those of us who also treasure these dastardly mysteries.  As always with such pictures, the emphasis on style and mood over substance and the desire for earth-shattering twists often results in a plot that is too convoluted for its own good.  Yet it never leans as far toward the absurd as many of its counterparts, and Fulci fans may be quite forgiving of any lapses in logic.  After all, Lucio liked shock and awe a lot more than plausibility, and this one never goes nearly as gonzo as legendary shockers like his The Beyond or City of the Living Dead.  I am going to highly recommend The Psychic (also known as Sette Note in Nero, or Seven Notes in Black) for those who dig Giallo as well as any Fulci fan, with those who want to see a different approach from this demented titan in particular.  You know what?  I'm going to take this a little farther and recommend The Psychic to anyone who digs the macabre at all.  I thought it was really damn good, and Fulci and O'Neill both worked hard to make this one twisted trip worth taking.

Final Grade: A

Jennifer O'Neill is sensational in this high quality giallo from a director better known for his gory shenanigans.

Short Attention Span Review - White of the Eye (1987)

Short Attention Span Review - White of the Eye (1987)

This little-known thriller from the late 80s is often described as an American stab at the beloved Giallo sub-genre that put so many Italian directors on the map.  I can see some similarities, so I understand that sentiment, but I find it to be something different, a curious opus that pays homage to many things but ultimately stands on its own.  The direction from Donald Cammell represents a stellar vision that is stark, inviting, subversive, and wildly grim.  This picture has a thing for vivid colors and gruesome subject matter, and it is rooted in the queasy realms of power and domination masquerading as purpose, painting an intimate portrait of a madman.  In fact, the lines between the killer we fear and the leading man we are drawn to are blurred, and even those with the closest ties to the murders contained within this pulsing chiller can't decide whether they love or hate the twisted soul who finds purpose in dismemberment.  The score by Nick Mason is a big winner, and the performances are on point.  David Keith is perfect, and Cathy Moriarty matches him stride for stride, while Art Evans and Alan Rosenberg take smaller roles and turn them into major assets.  Few thrillers operate with this much charisma while probing such depths, and the end result is a bit of a mystery.  While the events portrayed are far from ambiguous, the viewer's reaction may be defined by a sense of puzzlement.  When all is revealed, it is difficult to determine just how we should feel about everyone involved, and that is why I cherish White of the Eye.  It is provocative, it is exciting, and it asks a lot of tough questions that it answers by dishing out a lot of tough answers.  Evil can be quite seductive.  Evil may even be rather charming at times.  And those who go toe to toe with evil may taint themselves in the process.  Most don't view this type of fare for such meditation on the darker aspects of humanity, but those who do may find this true one of a kind to be immensely satisfying in its thirst for perversion and identity.

Final Grade: A

Like the best Italian thrillers, this American production is a quirky thriller that oozes style and vibrancy.

Top 20 Horror Movies - #6) Deep Red (1975)

One of the things that I'm doing this month as I celebrate Halloween here in the Land of Way is taking the time to rank my Top 20 Horror Movies and my Top 20 Horror Novels.

Note:
I want to be clear that I'm basing these choices on my own humble opinion.  I'm not trying to rank these movies in accordance with their place in pop culture, but I'm offering up my take on the best horror films that I have ever watched and enjoyed.  There are some familiar candidates that I consider to be great pictures that didn't make the cut because there wasn't room, and there are some films that are widely regarded as great pictures that didn't make the cut because I feel that they are overrated.  There are also a few instances where it was difficult to determine whether or not a movie belonged to the horror genre (I said "no" to Aliens but "yes" to Jaws), and it may also be worth noting that this is largely a modern list (as long as you're okay with my classification of modern as anything after 1960) that only features one lonely creature from the so-called "Classic Monsters" films produced by Universal Studios.

Thus far, the list includes:

#20) The Fly (1986) 
#19) The Howling (1981)
#18) Night of the Living Dead (1968)
#17) Alien (1979) 
#16) Invasion of the Body Snatchers (1978)
#15) Suspiria (1977) 
#14) Phantasm (1979)
#13) Evil Dead 2 (1985)
#12) Creature from the Black Lagoon (1954) 
#11) The Descent (2005)
#10) Fright Night (1985)
#9) Halloween (1978)
#8) Return of the Living Dead (1985)
#7) An American Werewolf in London (1981)

Dario Argento strikes again!  Seriously, these days the dude can't make a decent movie to save his life, but there was a time when he was a force to be reckoned with.  This is his finest achievement, a robust offering that is well-loved by many and yet vastly underrated.

Top 20 Horror Movies - #6) Deep Red (1975)

Dario Argento used to make top-notch horror films; he was known for his deft use of a moving camera and his lively color palettes which served to inject a surreal element into his work.  Dario was no stranger to gore either, and he had a serious jones for twisted plots.  Though he has completely lost his ability to make a quality film in this day and age, Argento was lighting up the screen with sensational chillers and gruesome thrillers in the 70s and 80s.  In my personal opinion, while Suspiria will always be more popular, this is his finest film.  Suspiria was #15 on my list and it is surely a top-shelf horror film, but for my money, Deep Red is more exciting and far more fulfilling.  While Suspiria is a fairy tale of sorts, Deep Red is a blood-curdling mystery that is equal parts slasher flick and ghost story, though to label it as either would be inaccurate.  David Hemmings stars as a pianist who witnesses a horrific murder without being able to identify the killer.  Soon, he and an intrepid reporter (the wonderful Daria Nicolodi as Gianna Brezzi) are trying to solve a vicious mystery that reaches into the past.  As they work to uncover the truth, the death toll rises and it becomes quite clear that they are in great danger.  Stellar cinematography, an amazing score by Goblin, and one of Argento's most inventive plots come together in Deep Red, an elaborate whodunit that is full of scares and twists.  Finally, while there can be no doubt that the death scenes in Suspiria are sick and demented, the murders that occur in Deep Red may be even more disturbing. 

The moral of the story?  If you witness a brutal murder, do yourself a favor and leave the subsequent investigation to the police.

A spectacular score, gruesome kills, and creepy imagery are among Deep Red's many highlights.

Top 20 Horror Movies - #15) Suspiria (1977)

One of the things that I'm doing this month as I celebrate Halloween here in the Land of Way is taking the time to rank my Top 20 Horror Movies and my Top 20 Horror Novels.

Note:
I want to be clear that I'm basing these choices on my own humble opinion.  I'm not trying to rank these movies in accordance with their place in pop culture, but I'm offering up my take on the best horror films that I have ever watched and enjoyed.  There are some familiar candidates that I consider to be great pictures that didn't make the cut because there wasn't room, and there are some films that are widely regarded as great pictures that didn't make the cut because I feel that they are overrated.  There are also a few instances where it was difficult to determine whether or not a movie belonged to the horror genre (I said "no" to Aliens but "yes" to Jaws), and it may also be worth noting that this is largely a modern list (as long as you're okay with my classification of modern as anything after 1960) that only features one lonely creature from the so-called "Classic Monsters" films produced by Universal Studios.

Thus far, the list includes:

#20) The Fly (1986) 
#19) The Howling (1981)
#18) Night of the Living Dead (1968)
#17) Alien (1979) 
#16) Invasion of the Body Snatchers (1978) 

So far, we've been hanging with monsters, werewolves, zombies, and aliens.  Today, we keep the late 70s motif that started at #17 alive and invite some witches to the party.

Top 20 Horror Movies - #15) Suspiria (1977)

Suspiria, a gruesome nightmare that many consider the finest example of Italian horror, is one of two such pictures to make my list.  The other is also directed by Dario Argento, a gifted filmmaker who spent much of the 70s and 80s churning out stunning motion pictures before descending into mediocrity in the 90s and beyond.  This inventive yarn is a dark fairy tale of sorts, with a roving camera and a bold color palette which give the picture a surreal tone that is positively enchanting.  The score by Goblin is one of the most striking scores that the horror genre has ever been blessed with, and the bloody effects work is top-notch.  The script is simple but effective; Jessica Harper's Suzy Bannion travels to a prestigious dance school where something is seriously amiss.  After a number of grisly murders occur and our heroine starts to investigate some spooky shenanigans taking place, Suzy discovers that the academy is merely a front for a coven of witches.  Argento was at his peak here, and the ominous atmosphere and the outright terror that he is able to conjure up throughout this fascinating picture is damn impressive.  Some of the kills in this movie are incredibly disturbing, and there are a handful of less violent sequences in the mix that are ridiculously creepy.  The cast performs well, with Harper giving her best performance and genre vet Udo Kier popping up in a brief but welcome part.  Despite his recent misfires, of which there are many, I still consider Dario Argento a legend in the realm of horror cinema for his incredible body of work--and Suspiria undoubtedly ranks among his very best.  In fact, while I favor another picture (those who follow my blog closely are already aware of this, but the rest of you will have to wait and see), most probably consider this to be his greatest achievement.

I'm not sure which of Suspiria's potent assets is more impressive, Dario's deft camera work or the surreal color palette.

Short Attention Span Review: Deep Red (1975)

Yesterday, I reviewed one of Fulci's better movies (City of the Living Dead), so today I'm turning my attention to another notable Italian director who made his name in the horror genre.  While Fulci was celebrated for his excessive use of gore, Dario Argento was better known for his deft use of a moving camera and the way his creative cinematography and lively color palettes served to inject a surreal element into his work.  Dario was no stranger to gore either, and he also shared Fulci's enthusiasm for twisted plots.  Though he has completely lost his ability to make a decent film in this day and age, Argento was lighting up the screen with sensational chillers and gruesome thrillers in the 70s and 80s.  In my personal opinion, Deep Red may just be his best feature, though Suspiria will always be more popular.  Hey, that's okay--Suspiria is a top-shelf horror film, but for my money, Deep Red is more riveting and far more fulfilling.  While Suspiria is a fairy tale of sorts, Deep Red is a blood-curdling mystery that is equal parts slasher flick and ghost story, though to label it as either would be inaccurate.  David Hemmings stars as a pianist who witnesses a horrific murder without being able to identify the killer.  Soon, he and an intrepid reporter (the wonderful Daria Nicolodi as Gianna Brezzi) are trying to solve a vicious mystery that reaches into the past.  As they work to uncover the truth, the death toll rises and it becomes quite clear that they are in great danger.  Stellar cinematography, an amazing score by Goblin, and one of Argento's most inventive plots come together in Deep Red, an elaborate whodunit that is full of scares and twists. 

Final Grade: A

In Deep Red, David Hemmings is drawn into a savage mystery.  As he tries to unravel
a brutal murder, bodies continue to pile up until this shocker reaches a grim conclusion.

Top 10 Bizarre Horror Movies from the 70s for Toptenz.net

So, I found this really awesome site that specializes in cool lists, Toptenz.net.  You guys know that I dig lists, so it should come as no surprise that I felt the need to contribute.  With that in mind, do yourself a favor and scope out the 10 Bizarre Horror Movies from the 70s piece that I put together for them.  I would absolutely love it if you could check the story out, share your thoughts, and spread the word.  I had a blast with this one and I would love to contribute additional lists to the site.  You know I'm having a good time when I get to write sentences like "It doesn’t take long for our hero’s investigation to lead him to a telepathic Christ-like hippie with a glowing face and a vagina on his side."  Who doesn't have fun with stuff like that?

Okay, pipe down, anti-telepahtic Christ-like hippie with a glowing face and a vagina on his side people, you've made your point.

The rest of you head on over to TopTenz and check it out.

Exhibit A: a telepathic Christ-like hippie with a glowing face and a vagina on his side