Also known as: Exorcist II, The Heretic (working titles) Release Date: June 17th, 1977 Directed by: John Boorman Written by: William Goodhart Based on: characters from The Exorcist by William Peter Blatty Music by: Ennio Morricone Cast: Linda Blair, Richard Burton, Louise Fletcher, Max von Sydow, Kitty Winn, Paul Henreid, James Earl Jones, Ned Beatty, Dana Plato (uncredited)
Warner Bros., 117 Minutes, 102 Minutes (VHS cut)
“Pazuzu, king of the evil spirits of the air, help me to find Kokumo!” – Father Lamont
It has been a really long time since I’ve seen this film but since I’ve reviewed the first and third films in the series, I figured that revisiting this one was long overdue.
I put it off for ages because it’s the only one out of the three that’s not very good. However, it wasn’t as bad as I remembered it.
Honestly, this is a really strange movie that feels like a product of its time, as it uses some modern (for the time) science-based ideas to try and solve the mystery of Reagan’s previous demonic possession and the effects it had and still has on her. It’s kind of hard to explain but there are some neat retro-techie sequences in the film that probably play much better now than they did in 1977.
Additionally, I like that this doesn’t simply try to retread the material and narrative framework of the previous, classic film. Instead, it takes a new and fresh approach. While that can only be as good as the writing and the execution, it still made this an interesting and unusual film that was very different than what was the norm for religious based horror movies of its time.
The film is also loaded with talented actors from the returning Linda Blair, to Louise Fletcher, Richard Burton, Max von Sydow and smaller roles for Ned Beatty and James Earl Jones.
I also really enjoyed the score by Ennio Morricone, which probably deserves more credit than it’s gotten over the years, as the music is overshadowed by the public disdain for the film.
On top of that, I really liked the finale of the film, which saw the good people in the story return to the spot where Reagan was previously possessed. They want to confront and conquer this evil, once and for all, and what we get is a really neat sequence with solid effects and great sets.
The problem with the movie is that it is a very disjointed clusterfuck that drags along at a snail’s pace in some sequences. I think that the better parts of the film offset its general drabness but it’s a bad movie as far as the story and pacing go.
Also, the plot is so far outside of the box, it’s hard to envision this as a sequel to the original, even as it unfolds in front of you, featuring the same young actress playing the same character.
In the end, I get why people hate this movie. Looking at it as its own body of work, it’s palatable. It has some really cool moments but you have to drag yourself through the uneventful portions of the film to reach the more satisfying ones.
Rating: 5.75/10 Pairs well with: I guess the first and third films but they’re both much, much better.
Release Date: September 4th, 1971 (Turin premiere) Directed by: Paolo Cavara Written by: Marcello Danon, Lucile Laks Music by: Ennio Morricone Cast: Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rossella Falk, Silvano Tranquilli, Barbara Bach
Da Ma Produzione, Produzioni Atlas Consorziate (P.A.C.), 89 Minutes, 98 Minutes (uncut)
Paolo Cavara was better known for making mondo films. However, he also made two giallo pictures, this being one of them.
Since I had never seen this but heard good things, I figured I’d check it out. It also stars a young Giancarlo Giannini, as well as the immensely beautiful ladies, Barbara Bouchet and Barbara Bach.
Like many giallo pictures, this one plays like a proto-slasher movie. And while it is very artistic and vivid, as giallos go, it doesn’t look as overly stylized as the works of Argento or the two Bavas. Still, it is a beautiful looking picture, a product of its unique time and country of origin, but it feels a bit more grounded in a gritty reality.
The method of the killer in this movie is unique and kind of cool, as he kills his victims in the way that a spider wasp kills a tarantula: paralyzing them with the sting of a needle and then slicing open their stomachs as they are conscious and can feel the agonizing pain without the ability to fight back or scream.
Giannini plays the detective trying to stop the killer but in doing so, finds himself and his girlfriend as targets of the deranged, mysterious killer.
While I can’t put this on the same level as the best giallos to come out of Italy, it is still memorable because of its killer’s methods, as well as the superb cast.
This also came out just as the genre was finding its style and getting its stride. So it might not feel as refined, beautiful and as opulent as later films in the genre but it did help pave the way for them.
Overall, this was pretty enthralling from the perspective of one who generally likes these sort of films. I can’t necessarily call Cavara a giallo maestro just based off of this one film but it did make me want to check out his other giallo picture: Plot of Fear a.k.a. Bloody Peanuts.
Rating: 7.25/10 Pairs well with: other early ’70s Italian giallo pictures.
Also known as: Orca: The Killer Whale, The Killer Whale (alternative titles) Release Date: July 15th, 1977 (New York City premiere) Directed by: Michael Anderson Written by: Luciano Vincenzoni, Sergio Donati, Robert Towne (uncredited) Music by: Ennio Morricone Cast: Richard Harris, Charlotte Rampling, Will Sampson, Bo Derek, Keenan Wynn, Robert Carradine
Famous Films, Dino De Laurentiis Company, 92 Minutes
“I’d insisted on leaving South Harbor with them. I told myself that somehow I was responsible for Nolan’s state of mind. That I had filled his head with romantic notions about a whale capable not only of profound grief, which I believed, but also of calculated and vindictive actions, which I found hard to be believe, despite all that had happened.” – Rachel
I was originally introduced to this movie by my 6th grade science teacher circa 1991. While most of the class was dozing off, I really enjoyed it, even if it was one of several dozen ripoffs of Jaws.
Orca is somehow better than almost all of the Jaws wannabes, except for Joe Dante’s magnificent Piranha. But the reason for that is due to the movie’s ability to create great sympathy for the killer killer whale as well as Richard Harris’ ability to take a total bastard of a character and make him somewhat noble and redeemable.
I also really enjoyed Charlotte Rampling in this, as she added so much to the film’s context in a great way, as well as having a really organic chemistry with Richard Harris.
Being that I haven’t seen this in its entirety since that day in 6th grade, I was actually pleasantly surprised by the film all these years later. It was actually better than I remembered and there were some scenes I had completely forgotten, like the whale fetus on the boat deck scene, which my 6th grade teacher may have omitted from the movie when he showed us his VHS copy of it.
While this was a Dino De Laurentiis produced picture, which means it had a limited budget, most of the special effects were damn good. Even though I knew that some of the whale celebration moments with destruction in the background were composited shots, they actually look pretty great for the time, even when being seen in modern HD.
The two sequences that stood out to me the most were the coastal house being destroyed by the whale and collapsing into the sea, as well as the scene where the female whale is gruesomely captured and maimed, leading to her death and the death of the baby she’s carrying, all while the male whale watches on in agony. It may sound kind of cheesy but it’s surreal and haunting. Most importantly, it was incredibly effective. You felt the whale’s pain and understood his quest for vengeance against Richard Harris’ captain character.
I also really dug the Ennio Morricone score. The guy is an absolute legend and his score here is enchanting while also being brooding. While it’s not on par with John Williams’ Jaws score, it is very different and fits the tone of this movie, which wasn’t exactly a Jaws ripoff. This just used the timing of its release to capitalize off of the killer marine life craze of the late ’70s.
The story is actually closer to Moby Dick and just modernized with a different species of whale. But that didn’t stop it from potentially taking a shot at Jaws by having the killer whale murder the crap out of a great white shark at the beginning of the film.
All in all, I was really satisfied with this. It’s not an all-time classic but it is better than most killer animal ocean movies not named Jaws.
Rating: 7.25/10 Pairs well with: other killer animal horror movies, especially those that take place on the water.
Also known as: O.K. Connery (original title), Operation Kid Brother (US), Kid Brother (US informal title), Divided Evil (alternative title), Secret Agent 00 (Germany) Release Date: April 20th, 1967 (Italy) Directed by: Alberto De Martino Written by: Paolo Levi, Frank Walker, Stanley Wright, Stefano Canzio Music by: Ennio Morricone, Bruno Nicolai Cast: Neil Connery, Daniela Bianchi, Adolfo Celi, Agata Flori, Bernard Lee, Anthony Dawson, Lois Maxwell, Yachuco Yama
Produzione D.S. (Dario Sabatello), 104 Minutes
“It’s going to blow up soon. Maybe even tomorrow. With you on board.” – Dr. Neil Connery, “You read too many novels by Fleming.” – Maya
As I’m getting close to finishing my quest of reviewing all the movies showcased on Mystery Science Theater 3000, I saved one of the best pictures for last. That was partially by design, as I remembered seeing this years ago, was somewhat captivated by it and wanted to save something I liked (or was at least interested in) for the tail end of my long journey.
Since the Italians don’t give a crap about copyright law and make unofficial sequels to anything that made more than five lira at the box office, this film “borrows” pretty heavily from the James Bond franchise, which was super popular at the time.
While this film is parody and not a “sequel” it features some of the iconic actors from the early Bond films: Bernard Lee (M), Lois Maxwell (Miss Moneypenny) and Adolfo Celi (Emilio Largo, the main antagonist from Thunderball). Even nuttier than that, it features Sean Connery’s younger brother Neil, as the super spy hero.
It’s alluded to that he is the younger brother of the more famous spy but the similarities between the two men end there, as Neil doesn’t look the part nearly as well as Sean does and he kind of stumbles through the film without the confidence and panache of any of the actors that played legitimate James Bonds.
In fact, the younger Connery is completely overshadowed by the other actors on the screen, especially the ones that were in actual Bond movies. Celi steals the scenes he’s in and it’s cool seeing Lee and Maxwell here too but none of them can make this a salvageable picture.
The only real high point, apart from how bizarre this is, are the dozens of hot Italian women thrown onscreen simply because this is Italian schlock that is ripping off a franchise that puts a high emphasis on the tried and true ideology that sex sells. You should certainly be pleased with the amount of eye candy here and even if no one is really acting like they care, most of the women heavy scenes are playful, fun and lighthearted.
Comparing this to the typical films that were riffed on MST3K, this is actually one of the better ones even though it’s still a bit shit. It’s that good kind of shit though, especially for fans of the early years of the James Bond franchise.
Rating: 4.5/10 Pairs well with: other ’60s spy parody films.
Also known as: John Carpenter’s The Thing (complete title) Release Date: June 25th, 1982 Directed by: John Carpenter Written by: Bill Lancaster Based on:Who Goes There? by John W. Campbell Jr. Music by: Ennio Morricone Cast: Kurt Russell, Wilford Brimley, T.K. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joe Polis, Thomas G. Waites, Adrienne Barbeau (voice, uncredited), John Carpenter (cameo, uncredited)
“We’re gonna draw a little bit of everybody’s blood… ’cause we’re gonna find out who’s The Thing. Watchin’ Norris in there gave me the idea that… maybe every part of him was a whole, every little piece was an individual animal with a built-in desire to protect its own life. Ya see, when a man bleeds, it’s just tissue, but blood from one of you Things won’t obey when it’s attacked. It’ll try and survive… crawl away from a hot needle, say.” – MacReady
Horror has been my thing since I was a young kid. I think a lot of that has to do with growing up in the ’80s, a great decade for horror movies because of the directors, the VHS market and the variance in horror styles from body horror, slashers and the supernatural. But I think, most importantly, credit has to be given to the style of the special effects, which were still practical and real, as CGI hadn’t taken over and turned everything into a digital world that doesn’t allow you to be as immersed in the horror on screen.
That being said, I didn’t actually see The Thing until I was a teenager in the mid-’90s when I worked at a video store. I was a John Carpenter fan but I didn’t know much about this film till later. I was inspired to watch it based off of some photos of the production and its monster in an old issue of Fangoria that I was flipping through. It looked like nothing I had seen before and I had to borrow it from the store and take it home for the night. That night ended up being a week.
What resulted from that was me becoming a die hard fan of this film and frankly, for me, it is the greatest horror movie ever made for several reasons, all of which I’ll get into.
To start, I’ve never been scared of horror. I actually find more terror in things that can harm me in a real world scenario. For instance, the Night Slasher and his cult-like gang from Sylvester Stallone’s Cobra was scarier to me than Freddy Krueger and Jason Voorhees. Stanley Kubrick’s The Shining, which I see as a masterpiece, never scared me even though it was freaky as hell and fucked up. Well, the naked old lady with rotting skin kind of screwed me up for awhile but that’s also because I was maybe a few years older than Danny in the movie when I first saw it.
Anyway, The Thing terrified me, even as a teen. Sure, it doesn’t feel like something that is realistically plausible but it tapped into something primal, as it is about something you never fully understand that can come at you in incalculable ways without you realizing it until you’re ensnared by it. There is just something absolutely dreadful about that and John Carpenter with great help from the stupendous special effects team and the actors was able to crack through my pretty tough exterior and scare the shit out of me. And as a first time watcher of this film, it caught me by surprise and I immediately fell in love with the picture because it made me feel things that I typically don’t from movies.
This brings me to the special effects themselves, as well as the creature. This monster is one of the best, if not the best, ever created for the screen. The imagination that went into the execution of its various, altering physical forms still blows my mind all these years later. I’ve seen this movie a dozen times over and I’m still left breathless in a lot of the key monster scenes. I have also watched special effects films my entire life, especially those from this era, my favorite for this sort of thing, and I don’t know how some of the shots were achieved.
Adding to the horror of the bizarre creature is the horror of human paranoia. As the movie progresses, every character becomes an island unto themselves unable to trust the other men whom they’ve been holed up with at a science research facility in Antarctica for months. What was once a brotherly bond between these men becomes a fight for individual survival against those you considered your friends and colleagues. This is just as much a psychological horror film as it is a physical one. Maybe even more so.
Also, the setting of the film multiplies the dread, as it feels unfamiliar and isolated, which it is. But it immediately sets up a situation where you know that no one can come to help and for better or worse, these men have to figure out this problem on their own with limited resources, limited knowledge and while constantly having to look over their shoulders because anyone or anything could violently kill them at the drop of a hat.
There are so many layers to the horror in this picture that it feels overwhelming, which makes it damn effective. But it also makes for a film that is incredibly intense, especially in the final act, which starts with an insane attack by the creature and culminates in several men tied to chairs as their blood is tested in an effort to figure out who’s been replaced by this “thing”. And all of that comes to a head in a big showdown but even then, we’re left unsure as to what’s what.
The Thing ends brilliantly, as it doesn’t really give you any answers and the two that survive are left in a situation where one of them could still be the creature but it doesn’t even really matter because their time is limited regardless of what happens next.
It’s a perfect ending to a perfect movie though.
When other people talk about this film, they always go on about the monster and how visually fucked up the movie is. But I don’t think enough credit goes to the cast.
The Thing is stacked with talent from Kurt Russell, Keith David, Wilford Brimley and a half dozen other very capable actors. All of the key players have good chemistry and watching their camaraderie dissolve over the course of the movie is troubling and convincing.
Ennio Morricone’s score is also prefect here and what’s really strange about it is that it sounds like a Carpenter score, which is fitting. But it also makes me wonder why Carpenter used Morricone when he usually scores his own movies. While I absolutely love the atmospheric sounds of the score, it’s not typical of Morricone’s style and it just makes me wonder if Carpenter just wanted to collaborate with him because he’s a fucking legend.
John Carpenter’s The Thing is, in my opinion, one of the greatest motion pictures ever made. Horror doesn’t get any respect from the weirdos in Hollywood but I’d put this against most Academy Award winning films because the vast majority of them can’t get into your head like The Thing, despite what genre any of them are.
Those weirdos can keep The Shape of Water because I’d watch The Thing a hundred more times before ever going back for seconds on that pro-bestiality fish fuck movie.
Rating: 10/10 Pairs well with: the other parts of what Carpenter calls his Apocalypse Trilogy: Prince of Darkness and In the Mouth of Madness, as well as other body horror movies of the era like The Fly and David Cronenberg’s early films.
Also known as: C’era una volta in America (original Italian title) Release Date: May 20th, 1984 (Cannes) Directed by: Sergio Leone Written by: Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini, Sergio Leone Based on:The Hoods by Harry Grey Music by: Ennio Morricone Cast: Robert De Niro, James Woods, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld, Treat Williams, Scott Tiler, Rusty Jacobs, Jennifer Connelly, Danny Aiello, William Forsythe, Adrian Curran, James Hayden, Brian Bloom, Darlanne Fluegel, Mario Brega, Estelle Harris, James Russo, Louise Fletcher (only in 2012 restoration)
The Ladd Company, Embassy International Pictures, PSO Enterprises, Rafran Cinematografic, Warner Bros., Titanus, 229 Minutes (original), 139 Minutes (original US release)
“Age can wither me, Noodles. We’re both getting old. All that we have left now are our memories. If you go to that party on Saturday night, you won’t have those anymore. Tear up that invitation.” – Deborah Gelly
I tried watching this about fifteen years ago but if I’m being completely honest, it bored me to tears. And I’m speaking as a guy that has a deep love for the films of Sergio Leone, a man who sits among the best in my Holy Trinity of Motion Picture Directors. The other two being Akira Kurosawa and Stanley Kubrick, naturally.
So years later, I felt that I really needed to revisit this, as maybe I wasn’t in the right head space and because I generally have a hard time sitting through movies that feel like they could take up an entire day. Well, this took up an entire afternoon and I did have to take a halftime break and make a ribeye.
But regardless of that, I really enjoyed this picture and I can’t deny that it is one of Leone’s best. In fact, I may have to edit my rankings of his films, as I would now put this third behind The Good, The Bad and The Ugly and Once Upon A Time In the West.
What’s interesting, is that this movie has more in common with Francis Ford Coppola’s The Godfather trilogy than Leone’s own pictures, which were mostly top tier spaghetti westerns. But like his westerns, he also employs the talents of musical maestro Ennio Morricone, who gives real life to the motion picture full of mostly understated performances.
This movie is incredibly slow paced but it’s that kind of slow pace that is more like a slow simmering stew of perfection than the chef accidentally setting the burner too low and walking away.
As far as the acting goes, this is a superb film. Robert De Niro and James Woods own every scene that they’re in. However, the supporting cast is also stupendous, especially the child actors, who play the main characters in lengthy flashback sequences.
This is also compelling in that it is full of unlikable, despicable characters yet you are lured into their world and you do find yourself caring where this is all going and how life will play out for these characters. You never like them but that’s kind of what makes this story so intriguing. With The Godfather‘s Michael Corleone, there were things you could connect with and respect about the man, despite his crimes. In Once Upon A Time In America, you don’t really have moments with these characters that humanizes them all that much, in fact it does just the opposite of that. I can see where that might be bothersome to some people but we also live in a world where people saw Walter White from Breaking Bad as some sort of hero.
Once Upon A Time In America also shines in regard to its visual components. It’s a period piece that covers different periods, all of which come off as authentic, even if the city sometimes looks more like it was shot in Europe (some of it was) than truly being Depression Era New York City. But the sets and the location shooting all worked well and this picture boasts some incredible cinematography. It should be very apparent to fans of Leone that he’s taken what he’s learned making fabulous movies and found a way to perfect it, in a visual sense, even more with this, his final picture.
There’s not a whole lot I can pick apart about the movie, other than the pacing being slow. But again, it’s not a painful slow and it certainly isn’t full of pointless filler and exposition. Every frame of this movie needs to exist. But maybe take some breaks or just approach the film like you’re binge watching a short season of a TV show.
Rating: 9.5/10 Pairs well with: Sergio Leone’s other films but this has a lot in common with Francis Ford Coppola’s The Godfather films.
Also known as: Gli intoccabili (original title), Killer MacCain (Denmark), The Untouchables (European English title), For A Price (English alternate title), At Any Price (US working title) Release Date: April 1st, 1969 (Italy) Directed by: Giuliano Montaldo Written by: Mino Roli, Giuliano Montaldo Based on:Candyleg by Ovid Demaris Music by: Ennio Morricone Cast: John Cassavetes, Britt Ekland, Peter Falk, Gabriele Ferzetti, Florinda Bolkan, Tony Kendall, Salvo Randone, Gena Rowlands, Luigi Pistilli
Euroatlantica, Euro International Film, 116 Minutes
“What do you do? Sell women? Sell marijuana? – what d’you do? Where’d you get the twenty-five thousand? I wouldn’t give you twenty-five cents. What d’you do? – you go out and you hustle yourself all over the street. Small time – no dignity! You don’t beg.” – Hank McCain, “That’s why, Hank – I need this chance. I got tired of being small change.” – Jack McCain, “You’re gonna be small change all your life.” – Hank McCain
If you like Italian gangster films, you should actually check one out from Italy, as opposed to American films about Italian-American criminals doing mafioso shit for the umpteenth time. The Italians weren’t just known for spaghetti westerns and sword and sandal movies back in the ’60s, they also made solid horror and badass crime pictures.
Gli Intoccabili, also known as Machine Gun McCain in the United States, is a high octane, gritty Italian crime thriller that stars a badass American, John Cassavetes. This also has a young Peter Falk in it. But the real treat is the lovely Britt Ekland, who I crushed on hard when I was a kid and saw her in The Man With the Golden Gun.
I like this movie but if I’m being honest, it is completely elevated by Cassavetes, Falk and Ekland. Without them, it would have just been a fairly mundane gangster movie.
There isn’t a lot of stylistic flourish to this film, which is surprising being that it came from Italy in a time when that country was experimenting with very colorful and vivid cinematography. I’m not saying that this needed giallo flair but it does look quite pedestrian when compared to what else was coming out of Italy in the late ’60s and early ’70s.
I really enjoyed Cassavetes’ McCain and I totally bought into his chemistry with Ekland. Falk was an absolute scene stealer though and for fans of his most famous role on Colombo, his part here is a real departure from the norm. It’s also worth noting that one of Sergio Leone’s favorites, Luigi Pistilli, has a small part in this. You may remember him as the priest brother of Tuco in The Good, The Bad and the Ugly as well as a member of Indio’s gang in For A Few Dollars More.
I should also point out that movie music maestro Ennio Morricone did the score for this. While it’s not as memorable as his work with Sergio Leone, it is still a nice score that enhances the film and gives it more life than it would have had with a less accomplished composer.
Machine Gun McCain is a film that probably sounds cooler than it is but if I’m being honest, it’s really damn hard to say something’s “uncool” if it’s got John Cassavetes in it.
Rating: 6.75/10 Pairs well with: The Burglars, The Italian Connection, Robbery and Grand Slam.
Also known as: Warrior Queen (German DVD title) Release Date: July 23rd, 1983 (Spain) Directed by: Matt Cimber Written by: Jose Truchado, John F. Goff, Matt Cimber Music by: Ennio Morricone Cast: Laurene Landon, John Ghaffari, Marisa Casel
Continental Movie Productions, S.T.A.E. Productions, Cinema Epoch, 90 Minutes (original), 109 Minutes (extended DVD cut)
“Bow!” – every asshole man in the film
Hundra has a 4.6 on IMDb. That seems pretty low and that puts it below average. I think it’s at least a bit above average. It isn’t a classic or even very good but it has some pretty strong positives that at least keep its head above the water line.
To start, the first fifteen minutes or so are badass. A horde of evil men show up to rape and pillage a village of only women. It’s a rehash of the beginning of nearly every barbarian-esque picture since the first Conan came out but it works to great effect here.
Plus, it is immediately followed up by Hundra returning home and having to lure out the testicle-having baddies to a place where she can use the environment to her advantage and kill the entire horde. Well, one escapes to fight another day but that whole battle sequence was well orchestrated and showed a warrior woman who was able to outwit and outsmart a large number of rapist thugs.
Weirdly, she has a hard time taking out a midget on a miniature horse just five minutes later.
The problem with the film is that after all that awesome action in the beginning, it just slows to a halt and continues on for another hour and a half.
I guess the biggest highlight, other than that long opening pillage and the battle on the rocks between Hundra and a gang of rapey tyrants is the incredible score by Ennio Morricone. Morricone is mostly known for his work on Sergio Leone’s spaghetti westerns and other films in that genre. Unlike those movies, however, he gives us something a bit more classical and pure. His themes during the pillaging scene and the chase out to the rocks was stellar.
Additionally, Laurene Landon as Hundra was a pretty big positive too. She looked and acted the part and hats off to her because she did all of her own stunts except for the big stumble off of the top of the tower around the middle of the film. I really only knew Landon from her role in the first two Maniac Cop films but after seeing this, I wish she had more roles where she got to play a hardcore feminine badass.
The cinematography is a mixed bag. The outdoor stuff is great. The landscapes are beautiful and everything in the first fifteen minutes is shot and captured really well. However, when you get to the interiors or other closed set pieces, things take a turn for the worse, as the film just becomes dull, poorly lit and ugly. It’s hard not to compare this to the very similar Red Sonja and when you see the films side by side, at least Red Sonja had more interesting interiors. Granted, Hundra also didn’t have as big of a budget as Red Sonja.
The acting isn’t very good but if you’re watching this for that reason, you’re barking up the wrong tree. Landon is charismatic and very likable as Hundra and her friend Tracima (Marisa Casel) was incredibly alluring and had my attention.
This is really a film about women overcoming evil men who only want to use them for sex and as servants. Sure, it’s written by a man as most films with a feminist message were, back in the day. However, Landon’s performance legitimizes it beyond just being some guy’s Amazonian fantasy.
If this movie was whittled down to 80 minutes and had as much energy as its first fifteen minutes, it could have been something really good. Unfortunately, despite the long list of positives I just gave, it is just too slow and dull for about 75 percent of its running time.
But I would love to see a Hundra and Red Sonja team up story, even if it were just in comic book form.
Rating: 5.5/10 Pairs well with: Other sword and sorcery movies from the era, most notably Red Sonja, the Conan movies, Beastmaster and Conquest.
Also known as: I Am an Eyewitness (Japanese English title) Release Date: February 12th, 1971 (Milan premiere) Directed by: Dario Argento Written by: Dario Argento, Bryan Edgar Wallace, Dardano Sacchetti, Luigi Cozzi, Luigi Collo Music by: Ennio Morricone Cast: James Franciscus, Karl Malden, Catherine Spaak
Mondial Te.Fi., Seda Spettacoli S.p.A., Labrador Films, Terra-Filmkunst GmbH, Constantin Film Verleih GmbH, 112 Minutes
“Nothing’s easy for me. I can’t even knock over a chair without getting caught.” – Gigi, the Loser
I love giallo movies and I have been a fan of Dario Argento since I first experienced Suspiria pretty early in life. For some bizarre reason, I have never seen The Cat O’ Nine Tails. It is part of Argento’s Animal Trilogy, which are three films released consecutively but are unrelated, other than being directed by Argento, having an animal name in their titles and having similar themes from a narrative and stylistic standpoint.
To be brutally honest, while I enjoy the film, overall, this was the slowest old school Argento movie that I have seen. There were aspects of the film that were interesting but it was a boring experience overall.
This has the same visual flair that Argento gave us in The Bird with Crystal Plumage but it seemed to be shot more straightforward and lacked the cinematography and lighting flourishes he employed so well in his previous movie. Where most Argento movies, especially the ones of the ’70s and ’80s, felt so majestic, this one feels very pedestrian for a giallo. Luckily, Argento would embrace his patented stylistic flourishes and give us some vivid nightmares after this picture.
The story is about a middle-aged blind man who helps a newspaper reporter try to solve a series of murders. The murders are connected to a pharmaceutical company’s secret research. The two men then become targets of the killer and must try to outwit the murderer while trying to find out the truth behind it all.
The narrative really is a solid murder mystery that almost has film-noir elements to it. There are those patented noir twists, turns and curveballs that keep you guessing. In some regard, it is an example of a relation between some giallo films and the American and British noir pictures of the ’40s and ’50s. I’ve often called giallo a bridge between noir and slasher flicks and this is an example of how I came to that theory.
This isn’t one of Argento’s best and he even said that it was his least favorite film that he directed. That doesn’t mean that it isn’t worthwhile, especially to fans of his work that want to see how he evolved from his earliest films to his more famous movies.
Rating: 7/10 Pairs well with: The other two films in Argento’s Animal Trilogy: The Bird With the Crystal Plumage and Four Flies On Grey Velvet.
The Dollars Trilogy, also known as The Man With No Name Trilogy, is one of the best film series there has ever been, capped off by the greatest film ever made.
These films also featured the best soundtracks ever created by the legendary Ennio Morricone.
But let me talk about all three of Sergio Leone’s masterpieces on their own.
A Fistful of Dollars (1964):
Also known as:Per un pugno di dollari (Italy), lit. For a Fistful of Dollars Release Date: September, 1964 (Italy) Directed by: Sergio Leone Written by: Víctor Andrés Catena, Jamie Comas Gil, Fernando Di Leo, Sergio Leone, Duccio Tessari, Tonino Valerii (all uncredited), Mark Lowell, Clint Eastwood (English version) Based on:Yojimbo by Akira Kurosawa, Ryūzō Kikushima Music by: Ennio Morricone (credited as Dan Savio) Cast: Clint Eastwood, Marianne Koch, Josef Edger, Wolfgang Lukschy, Gian Maria Volontè (as John Wells)
Jolly Film, Constantin Film, Ocean Films, Unidis, United Artists, 100 Minutes
“To kill a man you shoot him in the heart. Isn’t that what you said, Ramon?” – Joe (The Man With No Name)
The first film in the series is the smallest in scope. The story is very straightforward and compared to its sequels, it is pretty basic. It is still a fantastic film on its own and is one of the best westerns ever made. Had Sergio Leone just made this film and not the other two, it may have had the same level of love and admiration that accompanies The Good, The Bad and the Ugly.
It introduces us to the character referred to as “The Man With No Name”. In the film, he is casually referred to as “Joe” but it isn’t the true name of this stranger who wanders into town and changes things for the better before leaving.
This film is a template for the ones after it and that isn’t a knock, as it was executed greatly and fits well within the series that this trilogy became. You can tell that Sergio Leone is getting his feet wet with the western genre and for a first effort, this is a magnificent work of art.
It is also a lose remake of Akira Kurosawa’s Yojimbo. It turns the samurai wandering into a Japanese village and switches it to a gunslinger wandering into an Old West town.
Clint Eastwood truly owns the character and the villainous Ramón (played by Gian Maria Volontè) is a perfect foil for the hero.
The movie ends with one of the greatest and imaginative gun duels in film history. In fact, it would go on to be seen in Back to the Future, Part II and would inspire Marty McFly when he had to face his evil foil in a gun battle in Back to the Future, Part III.
Plus, the opening sequence of this film is absolute perfection and maybe my second favorite sequence in any spaghetti western, only surpassed by the finale of The Good, The Bad and the Ugly. But those two scenes were incredible bookends to this film series.
Rating: 9/10 Pairs well with: Any Leone spaghetti western.
For A Few Dollars More (1965):
Also known as:Per qualche dollaro in più (Italy) Release Date: December 30th, 1965 (Italy) Directed by: Sergio Leone Written by: Sergio Leone, Fulvio Morsella, Enzo Dell’Aquila (uncredited), Fernando Di Leo (uncredited) Music by: Ennio Morricone Cast: Clint Eastwood, Lee Van Cleef, Gian Maria Volontè, Luigi Pistilli, Aldo Sambrell, Klaus Kinski, Mario Brega
Produzioni Europee Associati (PEA), Arturo González Producciones Cinematográficas, Constantin Film, United Artists, 132 Minutes
“Alive or dead? It’s your choice.” – Monco (The Man With No Name)
The first sequel expands on the world of the first film. It feels bigger, the plot has more meat to it and our hero gets to team up with a bounty hunter named Col. Douglas Mortimer (played by the always spectacular Lee Van Cleef). The villain, El Indio is played by the previous installment’s villain actor, Gian Maria Volontè.
The two heroes work together and sometimes against one another in trying to take down El Indio and his gang. There are a lot of twists to the story and there is a lot more depth and layers than the plot of A Fistful of Dollars. Leone really found his stride in this film but it still wasn’t absolute perfection – that was yet to come.
This installment is also a bit more humorous than the previous film, in that the relationship between “The Man With No Name” (referred to as “Monco”) and Col. Douglas Mortimer is pretty chummy and entertaining. But this was Eastwood and Van Cleef in their prime, if you ask me. Both are magnetic, charismatic and each brings so much gravitas to any role that the cup was overflowing with masculine intensity.
As the story unfolds and the relationships build, you are left with a pretty lovable tale. Albeit a pretty badass lovable tale.
And as incredible as Ennio Morricone is as a composer, each chapter in this trilogy sees him evolve into something even greater.
Rating: 9/10 Pairs well with: Any Leone spaghetti western.
The Good, The Bad and the Ugly (1966):
Also known as: Il buono, il brutto, il cattivo (Italy) Release Date: December 23rd, 1966 (Italy) Directed by: Sergio Leone Written by: Luciano Vincenzoni, Sergio Leone, Agenore Incrocci, Furio Scarpelli Music by: Ennio Morricone Cast: Clint Eastwood, Lee Van Cleef, Eli Wallach, Aldo Giuffrè, Mario Brega, Luigi Pistilli
Produzioni Europee Associati (PEA), Arturo González Producciones Cinematográficas, Constantin Film, United Artists, 177 Minutes
“You see, in this world there’s two kinds of people, my friend: Those with loaded guns and those who dig. You dig.” – Blondie (The Man With No Name)
In my opinion, this is the greatest film ever made. It is perfect and truly has no flaws. Sure, westerns aren’t everyone’s cup of tea but some people eat laundry detergent because the Internet tells them to.
Clint Eastwood (The Good) is back, as is Lee Van Cleef (The Bad) who plays the evil Angel Eyes. Eli Wallach (The Ugly) joins them and becomes one of the best characters in cinematic history.
This is a three hour epic and not a single moment of film is wasted. Each segment serves the story well and fleshes out these dynamic characters. Everyone is given a chance to play off of each other and each exchange between characters drives the story forward and strengthens the relationship between all three men.
Even though Clint Eastwood’s “The Man With No Name” is the hero of this series, it is Eli Wallach’s Tuco Ramirez that is the actual star of this picture. He goes from annoying but funny bandit to a lovable and tragic character that you find yourself cheering for by the time this thing is over.
This film is a perfect example of how to develop characters well but with a minimalist approach. Their backstory doesn’t need to be spelled out in every detail. You can hint at their past, drop clues and come to conclusions based off of the emotion the actor wears on their face at certain points. Eli Wallach really gave an Oscar caliber performance here but these sort of films are ignored by elitist Academy snobbery.
The cinematography, the geography, the interiors – all are perfect. This film takes place in a massive and dirty world and it really feels like the American West, even though it was filmed in Europe in 1960s spaghetti western fashion.
The Good, The Bad and the Ugly plays like an old opera in its level of scope, story and violence. While the violence isn’t over the top, it serves a real narrative purpose and has a gritty authenticity about it that no other director has been able to capture since.
There isn’t a single thing about this movie that I would tweak, edit out or even try to expand on. I keep saying “perfect” and “flawless” because those are the only words I can even use to describe this untouchable film.
This is Sergio Leone’s magnum opus and the man was one of the greatest directors to ever live.
Rating: 10/10 Pairs well with: Any Leone spaghetti western.