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TITLE DESCRIPTION TAGGED AS
CANNIBAL FEROX Umberto Lenzi weaves a silly but gore-packed tale of coke dealers and grad students battling cannibals and each other in the Amazon while the Mafia putters around New York. , ,
CAPTAIN BLOOD Watching Flynn in this role, it's hard to believe this is his first time as a leading man. He handles the role with astounding proficiency. It is impossibly not to cheer for Captain Blood, and the script provides Flynn ample opportunity to deliver stirring speeches about freedom and tyranny, punctuated by scenes of guys firing muskets and cannons and swinging from the rigging of giant sailing ships. Flynn handles his stirring speeches with the same aplomb as he does the action scenes. He is the very definition of roguish charm, and he is assisted by a series of perfect foils, which include the thoroughly loathsome Colonel Bishop and the shifty French pirate Levasseur (played brilliantly by Basil Rathbone). Although it happened somewhat by chance, it seems that, in the end, Captain Blood was constructed purely to turn Errol Flynn into the dashing, swashbuckling heartthrob he became. Recognizing the chance that has fallen into his lap, Flynn does not disappoint. , , , ,
CAPTAIN CLEGG Things start off piratey enough, with the mutilation and stranding of a crew member for attacking the wife of the captain, a mysterious and ruthless pirate by the name of Clegg. Leaving the dastardly crewman to his fate sans food, water, ears, or tongue, the film then skips ahead a number of years to the remote British town of Dymchurch, which is being visited by no-nonsense British Navy captain Collier who suspects the small hamlet of being an offloading center for liquor smugglers. But Dymchurch hardly seems to be a den of smugglers and rapscallions, populated as it is by jolly coffin makers, upstanding squires, upstanding squire's sons, and the benign local parson, Blyss. Collier, however, is an experienced hand at flushing out smugglers, so he's hardly taken in by innocent looks alone. , , , ,
CASTLE OF CAGLIOSTRO People who are not familiar with the character of Lupin the Third are still likely to have heard of and perhaps even seen this movie thanks entirely to its being the feature film directorial debut of Hayao Miyazaki. Even many non-anime, non-animation moviegoers know Miyazaki's name thanks to the man having single-handedly directing more "timeless classics" than the entirety of the Disney animation studios. , , , , ,
CASUS KIRAN Casus Kiran is a film that is in constant, rapid motion from beginning to end, presenting more of a continuous event than an actual story. One furious fight will lead to a furious chase, which in turn ends in yet another furious fight, and so on. As such, trying to impose the strictures of plot upon it is sort of like trying to identify the conflicts and character arcs within a hurricane or brush fire. , , ,
THE CHEERLEADERS Is it art or is it porn? While this question may be bandied about for years to come in regards to The Night Porter and Salon Kitty, answering that question for a movie like The Cheerleaders should take about as much time as it would take for a chorus of people to shout out in unison, "It's porn!" , ,
CHINA STRIKE FORCE Stanley Tong misses the mark as usual in a Hong Kong actioner that just barely fails to be good. Aaron Kwok plays a cop out to bust hotshot Hong Kong gangster Mark Dascaco and his drug-buddy, Coolio. Yeah, you read that right. , , , , , ,
CHINESE GODS An animated feature film from Hong Kong, in which the ultimate supernatural guardian of ancient China (Bruce Lee with a third eye) leads a battle against an evil warlords and the demons and monsters of hell. , , , , ,
CLANS OF INTRIGUE Director Chor Yuen dazzles the audience with this ultra-stylish Shaw Bros. classic about noble swordsman Ti Lung, who becomes involved in a wildly intricate mystery plot when he is framed for the murder of several martial arts clan leaders. , , , , , , ,
COLOSSUS AND THE AMAZON QUEEN Ed Fury and Rod Taylor team up for this wacky gender-bender sword and sandal comedy. When a group of verile Greek sailors are stranded on a tropical island ruled by lucious women, plenty of nutty hijinks and seductive tribal dancing ensues. , , , ,
COLOSSUS AND THE HEADHUNTERS Maciste, the legendary son of Hercules, leads his people to a new home and gets caught up in a battle between some good guys and an evil fop with an army of headhunters. Sword and sandal at it's most acceptably average. , ,
COMMANDO Now, not only is Commando (not to be confused with Commando) a Bollywood ninja film, it's a Bollywood ninja film from the same cast and crew who brought you Disco Dancer. , , , , , , , ,
COMPANEROS Tomas Milian and Franco Nero star as two mismatched gunslingers wrestling with morality amid the turmoil of the Mexican Revolution in this spectacular and witty Spaghetti Western. , , , ,
CONAN THE BARBARIAN Arnold Schwarzenegger stars as the muscle-bound barbarian from the days of yore in the coolest of the 1980s sword and sandal movies. Featuring lots of blood, nudity, trekking, cool music, and James Earl Jones turning into a snake. , , , , , ,
CONAN THE DESTROYER Conan returns in this goofball comedy sequel that pits Conan and an annoying band of supporting characters against an evil queen, a horny basketball player, and a monster that is not giant but is slightly larger than most men. , , ,
THE CONQUEROR Saddled with ham-fisted dialogue that sounds like a teenager trying to write in the style of a bloated 1950s epic, however, and Wayne seems like just about the worst thing to ever happen to movies. "I feel this Tartar woman...is for me...and my blood says...take her. There are...moments for wisdom...and moments...when I listen to...my blood; my blood says...take...this Tartar woman!" Wayne stammers in one of the ripest lines. I've seen plenty of bad acting and bad casting, but this one, folks...this one really blows me away. Of course, the worse he gets, the worse the dialogue gets, the more enjoyable the movie becomes. , , ,
CONQUERORS OF ATLANTIS Hercules leads noble Arabs in a battle against the desert-dwelling minions of Atlantis. Featuring wild costumes, futuristic sets, laser guns, robotic bronzemen, and more fantastic weirdness than the normal person can handle. , ,
CONQUEST Gore movie master Lucio Fulci directs a 1980s sword and sorcery fantasy with bloody, completely bizarre results. Zombies, werewolves, naked witches, heroic dolphins, and lots of fog highlight this utterly strange tale. , ,
CONVOY BUSTER Italian cop film star Maurizio Merli turns in another gritty, 1970s actioner full of ass kicking, corruption, and, well, more ass kicking. This time around, he's a tough but world-weary cop who must bust up a gun smuggling ring. , , ,
COUNT YORGA, VAMPIRE So far, our examination of old fashioned vampires in modern day settings has covered Dracula, in the Hammer Studios films Dracula AD 1972 and Satanic Rites of Dracula, and some guy named Count Sinistre, from the previously obscure British horror film Devils of Darkness. But this trend of placing traditional vampires in a modern (well, 1970s) setting actually started in America, with a low-key film called Count Yorga, Vampire. , , ,
CREATURE FROM BLACK LAKE The 1970s were full of cheap Bigfoot films, and this was one of the better of the bunch. Two big city anthropology students go to Arkansas to hunt down a legendary skunk ape. ,
CREATURE OF DESTRUCTION Low budget filmmaker Larry Buchanan remakes She Creature, a movie that never called to be remade. An evil hypnotist causes a woman's primeval monster soul to manifest as a goofy looking monster that kills for no real reason. , , ,
CROSS SHOT John Saxon plays your typical 1970s cop on the edge chasing your typical "sensitive guy caught up in circumstances beyond his control" who is being pursued by your typical "aging mafia guy" while everything is being recorded by your typical "bleeding heart newspaper editor" in this typical Italian cop film than still manages to be fairly entertaining. , , ,
CRUSHER JOE Before sitting down to watch it for this review, I'd never seen Crusher Joe. Not only had I never seen it, it never even occured to me that I might want to see it. I'd heard of it, seen it around, but I never bothered with it. And I handled it in this matter for one reason and one reason only: the title sounded kind of lame. I mean, Crusher Joe? Wasn't he in Mike Tyson's Punch Out? , , ,
CRY OF THE BANSHEE The main problem with Cry of the Banshee is that all of this should be a lot more interesting than it turns out to be. With naked witches, pagan rites, vengeful landlords, corrupt priests, witch burnings, and a ratty werewolf tearing out throats, Cry of the Banshee should be a thrilling, chilling, grotesque affair. , , , ,
CURSE OF FRANKENSTEIN Christopher Lee's monster, while never the icon that Karloff's was, looked hideous and creepy because, for the most part, it looked so real, like a ghoulish, pallid man who had been created out of sundry body parts from other corpses. And the focus on Frankenstein himself allows Peter Cushing to shine and give audiences a doctor who is as memorable as the creature was in the original film. , , , , ,
DAGON Whether it's in film or in literature, many people who attempt to do something "Lovecraftian" take something iconic like, say, a plasmodic squid-headed demigod/priest, and run with it, having little regard for the sense of untold aeons, strange conspiracies, bizarre alternative histories, and cosmic and extradimensional musings which actually ever coaxed anyone into taking the squid demigod halfway seriously to begin with. Or they'll pull a Daniel Haller and have some curly-haired guy stand in front of the camera with his fists against his ears and his thumbs pointed straight out from his skull reciting "Yog-Sothoth! Yog-Sothoth! YOG-SOTHOTH!" , , ,
DARK POWER What to do when your small Carolina town is plagued by ancient evil? Why, trot out an aging, whip-wielding Lash Larue to do battle with the supernatural forces. ,
DANGER! DIABOLIK Campy, clever, and never taking itself as seriously as some dim-witted critics seem to think it does, Diabolik is one of the best, if not the best, European comic book/fantasy/sci-fi films, not to mention of the most breathlessly beautiful and fun films of the 1960s. , , , ,
DARK HEROINE MUK LAN-FA The Jane Bond films, in most cases, were cheap, hastily-made affairs, and The Dark Heroine Muk Lan-fa is no exception. With its monochrome photography and Spartan sets, the film bears as much similarity to the Republic serials of the forties as it does to the spy films of its era, and while watching it, there are times when it's easy to forget that you're watching a film made in the mid sixties. This, happily, is remedied by the periodic appearance of odd pop art touches, like the comic book-inspired starburst wipes that take us from one scene to the next, and the cropping up here and there of unmistakably mod pieces of fashion and furniture. Another element that anchors The Dark Heroine Muk Lan-fa firmly in the 1960s is its soundtrack, which is almost entirely pilfered from John Barry’s James Bond film scores -- mostly Goldfinger, as far as I can tell. , ,
DAY WATCH Day Watch picks up almost immediately where Night Watch ends, and manages to retain the first films strengths while noticeably improving upon the weaknesses. Day Watch has much more focused, easy to follow narrative: the chosen one has been found, and he's made his choice. Now it's up to one side to retain him and the other side to convince him to jump ship. , , , ,
DEADLIER THAN THE MALE The story in Deadlier than the Male, like most stories if the truth were put bluntly, is not spectacularly original, but the execution is marvelous. The script is smartly written and packed with clever dialogue and double entendres that are actually funny and witty, unlike say, the often nonsensical sex joke ramblings spouted by Dean Martin in the Matt Helm film (which, don't get me wrong, are glorious in their own ragged way even if I constantly make fun of them). , , , , ,
THE DEAD DON'T TALK Oluler Konusmazki is one of the few examples of Turkish horror occurring between Dracula Istanbul'da and the films of today. It appears to have been a dismal failure at the box office, so I guess that means that the general demographic of 1970s Turkey didn't experience film like I do. , , ,
DEAD OR ALIVE Out-of-control genius Takashi Miike comes out with both guns blazing, looking like Seijun Suzuki gone mad (!) as he picks up the Yakuza genre and turns it inside out and upside down. A simple tale of cops versus robbers becomes one of the most artfully crafted, perversely funny, disgusting, and explosively wonderful action films of all time. , , ,
DEATH FACTORY Compared to the other Brad Sykes films I've seen, and compared to the bulk of micro horror films floating around, Death Factory is pretty good. But that's relative to the likes of Goth and Blood Gnome, mind you. If you have a soft spot for micro-budget horror films, or if you are simply in the mood for something that is predictable but still gory and adequate, Death Factory stands up all right. , , ,
DEATH TRIP Once Death Trip has gotten Walker and Rowland effectively teamed up and its villains clearly established, it proceeds with a series of set pieces in which the gang make alternating attempts to kill both Leyla and Jenny, all of which are foiled in high style by Jo and Tom. Finally the Green Hounds, realizing that Rowland has pulled a switch-a-roo on them with the LSD, kidnap him in order to get him to divulge where the real stash is hidden. Rowland ends up imprisoned along with Leyla, Giselda and Hood in the Hounds' desert camp, which is located in a network of caves in a region aptly named the Valley of a Thousand Hills. It’s up to Walker to rescue him, and in the attempt he employs a desert sheik disguise that, for all its ridiculousness, is still less silly than the lemonade vendor get-up he sports in an earlier sequence. , , , ,
DEEP SHOCK Thankfully, the writers of Deep Shock decided to take utterly fictitious eels from the open sea, rather than pretending that there was some undiscovered stretch of the Amazon in which there's some relic of a more savage era or whatever other garbled nonsense they'd usually give us. But that thankfulness is short-lived.
DELINQUENT GIRL BOSS: BLOSSOMING NIGHT DREAMS Blossoming Night Dreams is the first in the "Delinquent Girl Boss" series, as well as Toei's first entry in the Pinky Violence genre. Spurred to jump into the game by the success of Nikkatsu's Stray Cat Rock series of female delinquent films, the studio would go on to make the PV genre their own through more brazenly exploitative franchises like Terrifying Girls' High School and Female Prisoner Scorpion films. At the time of this film, the template that those later films followed had yet to be set, and so, while there is a fair share of tits and blood on display, there's nowhere near as much as would become standard within a couple years. Furthermore--and again unlike perennial PV stars Miki Sugimoto and Reiko Ike--Oshida was not required to shed her clothing for her role, leaving the burden of baring all upon her supporting stars. , , ,
DELINQUENT GIRL BOSS: WORTHLESS TO CONFESS When juvenile delinquent Rika gets out of jail, she takes a job in a garage belonging to the father of fellow former inmate Midori, and discovers that Midori is bleeding her father dry in an attempt to pay off her deadbeat boyfriend's ever-escalating gambling debts. The local yakuza are keen to see the guy get in so much debt that Midori will pressure her father to sell his garage, and Rika is keen to protect the old man and try to straighten Midori out. Needless to say, in order to do so, she'll have to reassemble the old gang from reform school. , , ,
DEMIR YUMRUK: DEVLER GELIYOR It's more like if Batman and Superman got in a fight and killed each other, and then some bystander came along and robbed their corpses for his own costume. Mind you, he's a bystander who can hold his own in a fight against international criminals, but he still seems to be just a guy whose only superpower is the ability to wear bulletproof vests and pretend he's dead. , , ,
DEMONS 2 High-calibre acting, intricate and complex plot, and good music are in abundance in many films. This is not one of them. Dario Argento and Lamberto Bava make one of the most delightfully stupid Italian horror films of all time. ,
DESTROY ALL MONSTERS The biggest monster bash Toho ever threw, featuring all your favorite giant beasts in a no-holds-barred royal rumble. , ,
THE DEVIL CAME FROM AKASAVA Coming out in 1971, The Devil Came from Akasava was a bit late to jump the Eurospy bandwagon of the 1960s, which Franco had previously entered with his thoroughly ridiculous and highly entertaining Danger! Death Ray. Still, when a movie is this utterly strange, we can forgive it showing up to the dance a little late, especially since it shows up clad in silver boots and a see-through black tunic. , , ,
THE DEVIL RIDES OUT There's plenty in The Devil Rides Out that could come across as outlandish were in not for the fact that the cast is so committed to the film - something that, by now, you should recognize as one of the great hallmarks of Hammer productions. Raised as we are today on a steady diet of tongue-in-cheek horror films that don't want to commit to being horror films, The Devil Rides Out is refreshingly free of irony. , , ,
DEVILS OF DARKNESS Devils of Darkness pits our sinister Sinistre against -- well, basically, it pits him against a dad from some early 60s sitcom in a veritable whirlwind of opera capes and devil cloaks versus cardigan sweaters and well-pressed slacks. This is the sort of movie where square-jawed everymen sit on couches with their legs crossed and stare intently at their cigarettes while saying things like, "Vampires? But this is the 20th century!" and everyone seems to know a guy who happens to be a professor of the occult. , , ,
DHARAM VEER Dharam-Veer is a movie designed to thrill, and it succeeds on all of the intended levels, as well as on many levels that probably weren't so intentional. In addition to the thrill of watching its spectacular musical numbers and beautiful stars, there is the singular thrill that comes from seeing combinations of color and fabric that will likely never be repeated in human history. Adding to Dharam-Veer's singularity is the fact that it's pretty much guaranteed to be the only place where you can see a special effects shot of a horse jumping over a castle wall that is at once so patently phony and so hauntingly compelling. Even if you could find any of these elements in another film, the chances of that film also starring Sheroo The Wonder Bird are slim to none. , , , ,
DIAMONDS OF KILIMANDJARO If you are going to like Diamonds of Kilimandjaro, you are going to have to really like two things: naked women and random shots of jungle foliage, because that's about all this movie is comprised of. In fact, they should have just titled it Tits and Foliage, because it's not like I wouldn't watch a movie called Tits and Foliage. In fact, I'd probably be more likely to watch Tits and Foliage than something called Diamonds of Kilimandjaro. Plus, the movie is full of tits and foliage, but there are no diamonds, and there is no Kilimandjaro. For like 89 minutes this is a movie about a group of dumb people trying to find a naked white chick in the jungle while a naked black chick in the jungle throws spears at them. , , ,
DISCO DANCER Most Bollywood productions are a bit overwhelming to the senses of sight and sound, to say nothing of the simple art of being able to think straight. Disco Dancer, however, crams in even more weirdness than usual, which is really saying something. It's an absolutely delirious experience that will leave you reeling, staggering, possibly damaged, but also smiling and laughing. , , , ,
DOA: DEAD OR ALIVE The plot revolves around a group of women invited to compete in a semi-secret martial arts tournament where, of course, shady shenanigans are being engaged in behind the scenes. Enter the Dragon's plot has proved useful so many times, the writers of this film decided there was no reason not to dust it off one more time. , , , ,
DON Amitabh Bachchan proves why he was king of the Indian action film throughout the 1970s in this surprisingly great, fast-paced action film about a man who takes on the identity of a crime boss in order to bust up the operation. Explosions, car chases, musical numbers, and kungfu galore ensues! , , , ,
DON Shahrukh Khan plays very close to the plot of the first film for abut half its running time. Khan stars as Don, relocated for this version of the story from Bombay to that modern Mecca of luxurious success, Dubai. Don is a major player in the India-Dubai criminal underworld, but he's chafing under the command of men he sees as less intelligent, less capable, and less ambitious than himself. , , , , ,
DON JUAN (OR IF DON JUAN WERE A WOMAN) Comparisons to Barbarella are, at least for me, inevitable since this is once again director Roger Vadim constructing a film around pop art, outrageous fashion, and his sex kitten obsession of the week. , , , ,
DOWNTOWN TORPEDOES Takeshi Kaneshiro, Jordan Chan, and Charlie Yeung star in this slick, action-packed heist movie about a group of thieves who are blackmailed into stealing a set of counterfeiting plates from a rogue MI5 agent, and of course get caught up in double crosses and wonderfully staged action scenes galore. , ,
DRACULA A.D. 1972 A bunch of groovy young mop tops are skulking about London, holding "freak outs" and the most tame "horribly out of control" parties I've ever seen -- and I've been to some really tame parties. Leading this merry band of pranksters is one Johnny Alucard, trotting out the Alucard "puzzle" for the millionth time. We get it! Who, by this time, doesn't get the Alucard thing? , , , , , , ,
DRACULA HAS RISEN FROM THE GRAVE After vowing once again to never return to the role of Dracula, Christopher Lee returns to the role of Dracula for Hammer's next installment of the ongoing saga of the bloodsucker. , , , ,
DRACULA, PRINCE OF DARKNESS After an eight year hiatus, Christopher Lee dons the cape and fangs for Hammer's third foray into the realm of Count Dracula. , , , ,
DRAGON FROM RUSSIA Sam Hui stars in a superb, stylish live-action adaptation of the popular Japanese manga Crying Freeman, replacing all the sex and gore with high-octane kungfu action. , , , , ,