The Ripper has struck again, prompting the drunk who finds the body to exclaim in his best RADA Cockney accent, “Gor blimey, the Ripper! ‘e’s done ‘er in!”
I’m going to have to cram a bunch of history up front in this review, so if you already know most of it, please forgive me. I feel it sets the stage properly for those among you who aren’t nerdy enough to have a vast and swelling knowledge of the ins and outs of British…
In five minutes, you gave me Ken Foree in micro-shorts, full frontal nudity, and murder by steam room. By the time we got to the frozen flying eel, I was willing to pledge my very soul to you
One of the first heavy metal horror films, though it draws more from the Grand Guignol stage theatrics of KISS and Alice Cooper than the pentagrams and pantyhose of glam metal
If exploitation cinema can be traced to a single wellspring from which all its filth and fury flows, an argument can be made that said wellspring is Dwain Esper
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.
While, admittedly, some of my enjoyment of Khoon Khoon arose from the novelty of it being a Bollywood adaptation of one of my favorite films — just as it was with Inkaar, Raj N. Sippy’s reworking of Kurosawa’s High and Low — I also found it irresistibly watchable on its own terms.