Deodato’s short-comings as a director are made more obvious when you have to watch one of his films that doesn’t benefit from several minutes of controversial cannibal torture footage
Scenes such as those certainly do contribute to an air of breathless excitement — almost as if we are watching a story projected directly from the brain of a sugar-addled eight-year-old boy who’s caught up in the excitement of recounting the action of the cartoon he’s just watched.
Goro himself seems neither disappointed or enthused by his small-time pursuits. His only regret is that he can’t yet go back to his beloved Tokyo.
Ito and his boss want Togawa to carry out a robbery that they’ve planned, involving an armored car shipment of racetrack receipts worth 120 million yen, and have hand selected a crew of four men to assist him in the task.
The docs take a look at the completely nondescript wounds on the corpse’s face and immediately ascertain that they could only be made by a Portuguese man-o-war — except that it would have to be one of an impossible size.
It was great fun to watch Oliver Reed leer and sweat all over everybody. In addition, the young Carol Lynley was quite lovely, and Kirchin’s bopping score struck me as a surprisingly adventurous alternative to the typical gothic meanderings you might expect.
If you don’t mind creaky, old fashioned horror movies who don’t live up their potential, that aren’t really scary, and aren’t particularly impressive, then you might appreciate Curse of the Crimson Altar
And while making a claim for any film as the first giallo will only degenerate into an unresolvable debate akin to naming the first punk rock band, a lot of people tend to agree that it’s Mario Bava’s Blood and Black Lace — which I’ve never seen.
Alongside all of its surface froth, Who Wants to Kill Jessie carries a simple political message that’s pretty hard to miss – that authority’s attempts to suppress the dreams of its subjects have a tendency to force those dreams into the world of action, and that, once made manifest, those dreams tend to be a genie that’s pretty hard to get back into the bottle.
Dara Singh had played Tarzan, Hercules, Samson and numerous other loincloth-clad he-men, as well as James Bondian secret agents, Zorro-inspired masked vigilantes, and, of course, a fair share of swashbuckling pirates in frilly shirts. But one thing he had yet to play was a heroic, planet-hopping space adventurer. Trip To Moon would change all of that.