As I’ve indicated, it won’t overwhelm you with its artistry, but it is a handsomely made film, and the performances are uniformly top notch. And because I didn’t have to spend half of its running time cringing and hoping that my wife didn’t walk into the room, it afforded me the opportunity to savor some of those aspects of the PV genre that are most appealing to me.
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.
Franco wouldn’t get through a lifetime career in exploitation films without doing some work for Eurocine. Diamonds of Kilimandjaro and Golden Temple Amazons were two of the movies Franco apparently didn’t think were as cheap and shoddy and ill-conceived as Zombie Lake.
If you like the AIP Poe films or don’t mind lots of dialog, this is a good old-fashioned occult thriller that winds up being a great way to spend midnight, provided you don’t have any decadent rich parties that devolve into an orgiastic ritual lorded over by a vampire to attend at midnight.
The plot is a bit of a letdown, especially considering that it’s the first time Van Helsing and Dracula have been on screen together since the first movie.
Aoki and Valance seem to possess almost no athletic ability whatsoever, and so to pass them off as fighters, Yuen relies on gravity-defying wirework and jumpy editing, as well as a dollop of CGI. He does the most he can with what little he has, but no one is going to be mistaking these gals for legitimate fighters. Even Hsu Chi was more believable.
Of course that reserve goes out the window the second Rika and her girls throw on hot pants and go-go boots, break out their swords, and slice their way through a pop art club full of whimpering, worthless yakuza assholes. If Worthless to Confess lacks the nonstop insanity of many of the zanier entries in the world of pinky violence, it makes up for it with a finale that is off-the-charts awesome.
I gather that Disco Dancer has a bit of a legendary reputation amongst people who seek out bad films, especially bad films from Bollywood, and while there’s nothing in the movie that isn’t completely ludicrous, I have to say that there was not a drop of irony in my embrace of this film. It’s just so insanely, beautifully gaudy and completely nuts.
This lavishly colorful and thoroughly enjoyable comic book romp features what is without a doubt one of the most wonderful moments in all of cinema, if not the most wonderful. Having just completed a major heist, our cool-as-liquid-nitrogen anti-hero, Diabolik, returns to his sprawling, space-age underground lair full of cool pop art furnishings, where he…
Lee is less of a presence here than in the last film, and his shadow doesn’t seem to loom as powerfully over everything when he’s not present as it did in Prince of Darkness. But when he does show up, he looks exquisite.
It’s great to see Christopher Lee back in action again as the count, and really, that alone is enough to make this film enjoyable. Lee swore this would be the final time he’d play Dracula for Hammer. He was, naturally, back again as the count very shortly there after.
This time around it’s French bombshell Brigitte Bardot. Granted, constructing your movie around Brigitte Bardot wearing outrageous outfits (or nothing at all) and parading around a series of equally outrageously designed space-age pop sets is certainly not a bad thing.