The simple fear generated from saying, “Did you hear that?” while you’re sitting out in the middle of the woods isn’t something that can be explained to someone who hasn’t been there.
There are a lot of directors who work with that special someone of an actor forging a partnership that becomes legendary within the cinematic world. Martin Scorsese had Robert DeNiro. John Ford had John Wayne. And German director Werner Herzog had Klaus Kinski.
When ITC commissioned then changed their mind about a second season of UFO, Gerry Anderson wasn’t one to let all the hard work that went into pre-production design go to waste. He tweaked the scenario a little and gave the proposed series a new name: Menace in Space.
You can’t really blame viewers who sat down to watch the first episode of UFO for expecting it to be pretty much the same as everything else Gerry Anderson had done, only with live actors instead of puppets. Those misconceptions about the show were quickly dispelled.
Any movie with a title like The Werewolf and the Yeti needs to be a movie full of scenes where a werewolf fights a yeti. If the movie doesn’t live up to that title, you’ve ruined humanity’s chances for an awesome movie in which a werewolf fights a yeti
Naschy has the pieces, and he has some great ideas and some moments when things work, but the entirety never really comes together, and sloppy scripting ultimately undermines the film.
But rocky though the 70s may have been for Hammer, Blood from the Mummy’s Tomb is a stand-out that, while perhaps not keeping pace with the company at its best, certainly makes for solid b-movie material.
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.
It’s not often that you can find a movie that is this energetic and fun. It’s hard not to grin like an idiot through the whole thing, because it’s such a recklessly enthralling joy ride.
Mamo begins with the death of Lupin the Third, which comes as a major shock to Lupin the Third when he hears about it. This initial puzzler sends Lupin, Goemon, and Jigen on a wild quest that brings them face to face with the United States Navy and a mysterious, reclusive billionaire named Mamo.