Meathook Cinema Hall of Fame- The New York Ripper (1982)

Meathook Cinema Hall of Fame- The New York Ripper (1982)

I love any film that is so notorious it generates it’s own urban legend regarding it’s controversial release, whether this account is true or not.

One such film is Lucio Fulci’s 1982 sleazy slasher gorefest, The New York Ripper. Rumour has it that when the UK distributor submitted it to the British Board of Film Classification, the censors were so appalled by what they saw that the print was given a police escort out of the country. The truth of the matter is that chief censor James Ferman (apparently) decided to send the print back to it’s rights owners in Italy to prevent the distributors making copies for video or get local approval for regional cinema screenings. Mr Ferman did this to prevent the distributors being found guilty of obscenity if the matter was taken to court. Ferman is conveniently framed on the BBFC’s website as doing them a favour- whilst effectively making sure that they didn’t get their own way and distributed the film anyway.

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Not many films have become synonymous with epitomising both the 42nd Street and Video Nasties scenes but The New York Ripper does and it does it brilliantly. This is a truly brutal piece of slasher cinema and is so grimy that you feel like you need to take a shower after it.

It starts as it means to go on with an old man playing a game of fetch with his dog. But instead of bringing back the piece of wood thrown for it into a bush on the banks of the Hudson River, the dog brings back a decomposing human hand. The film’s title is even superimposed over this image as if it’s typical of the film’s content. And it is! Fulci is proudly extolling the film’s content and intent.

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It’s discovered that this is a body part of the latest victim of a crazed killer who is stalking and killing prostitutes in the city. The prostitute’s landlady tells the cop on the case that the guy who Anne went to meet bizarrely had the voice of a duck.

Throughout the film we get to see other victims as they are butchered but the actual killer isn’t revealed until the end which in typical Giallo fashion means that this is a whodunnit as well as a horror film. A number of characters are set up as potential suspects for both the police and the audience, particularly the mysterious man who has two fingers missing from his right hand.

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Most of the characters in the film are interesting, quirky, and in some cases, just as sleazy as the film. One such example is that of Jane Lodge. We first see her in the front row of a live sex show theatre in Times Square. She is not only avidly watching the action but also recording the encounter. We find out that she does this for her husband whom she is in an open marriage with. She takes home mementoes from her daily search for sexy trysts for them both to enjoy (she’s clearly living her best life). Whilst front row we see that she is clearly getting off on what she is seeing and is revealed to be dressed for the occasion by wearing suspenders under her fashionable garb of trilby, raincoat and immaculate make-up. We later see her on another sexcapade that takes place in a Hispanic dockside bar that defies belief. Let’s just say it involves toes. She reminds me of an even sleazier version of Angie Dickinson’s bored housewife character from Dressed To Kill.

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Secret double lives seem to be a thing within the film. Williams who is hunting this homicidal Donald Duck is shown in bed with a prostitute he regularly visits. The fact that he’s a cop seemingly doesn’t deter him. Even the doctor whom Williams hires to advise on the case is shown buying a gay porno mag from a street vendor (‘Have a nice evening!’ the vendor says to him with a chuckle).

And then there are the kills. Oh my. The murders are extremely graphic and, in some cases, involve razor blades being used on faces, eyeballs as well as on female anatomy. There are also guttings. A coroner describes one decapitation to Williams in graphic detail and even throws in the word ‘joytrail’ for good measure as to where the killer entered his knife. There’s also a murder that involves a broken bottle being thrust into a woman’s ‘joytrail’ who has just come offstage at the sex show that Jane had a ringside seat for. There is even a POV shot for the bottle.

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The film feels like Fulci wanted to make the ultimate piece of exploitation centred around the Big Apple which in those days was rotten to the core- a crime ridden city where danger lurked on every corner but particularly for women. Think of the opening credits for The Equalizer and you get the idea. Every man is a rapist, mugger or murderer. The backdrops for the kills within the film showcase the different appropriate locales that the city had to offer with the subway, dirty ‘rent by the hour’ motel rooms and even the Staten Island Ferry being utilised. There are also lingering shots of 42nd Street. The Deuce has never been so beautifully captured since Scorsese’s Taxi Driver. It would seem that Fulci’s film is a lower rent, exploitation descendent of that film just as William Lustig’s Maniac and Abel Ferrera’s Driller Killer are.

For such a grimy and sleazy movie, it has been beautifully shot and lit as the new Blue Underground 4K Blu Ray fully shows. This is the best edition to grab if you are new to this masterpiece.

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With The New York Ripper, Fulci set out to outdo himself and make the most sleazy, gory and sensationalistic Grindhouse movie of all time. Boy, did he succeed! The New York Ripper is a perfect storm of 80’s Giallo, 42nd Street and the Video Nasties moral panic. And, it lives up to it’s reputation whilst being a fantastic movie to boot. Whilst Zombi 2 may be a good ‘in’ for those who are new to Fulci, The New York Ripper is a great film to investigate after this. It’s also a great date movie (although that probably says more about me than anything else…)

Review- La Dama Rossa Uccide Sette Volte (The Red Queen Kills Seven Times) (1972)

Review- La Dama Rossa Uccide Sette Volte (The Red Queen Kills Seven Times) (1972)

Hooray for Facebook. I was browsing pages devoted to cult cinema as I’m prone to do during my downtime and I saw a post about the Giallo gem, The Red Queen Kills Seven Times and realised that I had never seen it. And lo and behold it was on YouTube in both Italian or badly dubbed English.

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This film concerns two sisters, one good, one evil. Their spacious abode has a very disturbing painting on the wall that evidently influences the black haired evil child, Evelyn to act terribly towards her blond haired more rational sister, Kitty. The artwork has a backstory- the evil Red Queen depicted in the picture was killed by her sister but the murdered then rises from the grave and becomes murderer, killing seven people linked to her death.

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Evelyn just being Evelyn
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The painting

A brilliantly funny sequence during the film’s opening credits shows that the teasing of Kitty by Evelyn continues throughout their childhood. The teasing carries on into adulthood. But during one incident Kitty accidentally kills Evelyn.

Real life seems to imitate art however when a figure dressed in a red cloak appears and starts to murder those connected to Kitty in gruesome ways. Who could this person be? Is it really Evelyn who has risen from the grave?

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This is classic Giallo with gorgeous direction, innovative and VERY gory kills and style oozing out of every frame. Listen for the fantastic cackle the Red Queen gives after each murder as she relishes her evil deeds. She reminds me of Tura Satana in Faster Pussycat Kill! Kill! who used to laugh loudly after doing something reckless and thrilling.

The film is also sleazy as hell. This is one of the things about Giallo that I love the most- the impeccable interiors, perfect hair and make-up, the gorgeous aesthetics. In short, stylisations that are in stark contrast to the messy dabblings of the main characters.

Barbara Bouchet in The Red Queen Kills Seven Times (1972)
Kitty- immaculate hair and make-up

Theres a wonderful Scooby Doo moment near the end with a mask being pulled off to reveal a true identity (not the caretaker in this instance) and massive plot points being spat out faster than a snitch giving evidence. One of the final scenes does for rats what Jaws did for sharks. It’s fantastically gross.

The use of the colour red evokes the horror masterpiece Don’t Look Now which was made the year after this film. Had Nic Roeg seen this brilliant film prior to making it?

This film is great fun. And has a soundtrack to die for (no pun intended). I look forward to buying the Arrow Blu ray.

4 stars out of 5

31 Days of Halloween 2020- Day 21- The House With Laughing Windows (1976)

31 Days of Halloween 2020- Day 21- The House With Laughing Windows (1976)

A young man who can restore frescos (ancient works of art) arrives to restore one such artwork but finds events within the remote town to be far from normal. Indeed, they are downright bizarre. Does the fresco hold any clues? Does it depict what people have been led to believe it shows? Will the events directly affect Stefano?

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This Italian film is one hell of a gorgeous (and VERY disturbing) journey. Not only do we get the backstory of the artist who first painted the fresco but also the freaky events that are happening in the Valli di Commacchio area that the action takes place in. 

With all the best of Italian horror/gialli, it also makes you want to go to Italy and experience such a seemingly fantastic and aesthetically pleasing way of life. The photography is magnificent. I’d love to see this film on the big screen. 

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The locales are sumptuous, the characters are left field to the max (at times I kept think of the films of Jodorowsky) which all adds to the overall vision and atmosphere of this gorgeous film.

I’d love to speak about the conclusion of the film but that would massively spoil the entire film for those of you who haven’t been lucky enough to see it yet. Also, if I tried to write down what happens you probably wouldn’t believe me. Just to say- it’s surreal, can’t be predicted and gets under your skin and inside your head and remains there long after the actual film has ended. Fantastic.

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****and a half out of *****

Day 14- 31 Days of Halloween- Inferno (1980)

Day 14- 31 Days of Halloween- Inferno (1980)

A young man travels from Rome to New York to investigate his sister’s disappearance after she was living in the same apartment building where an ancient witch resided.

This was Argento’s second instalment of his much lauded ‘Three Mothers’ trilogy.

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All of the Giallo elements are here as are Argento’s striking visuals as a backdrop to some very brutal murders and bizarre goings-on. With all of the twists and turns in the narrative I didn’t fully know what the hell was going on but such was the film’s power. I let the visuals, Keith Emerson’s great score and Dario’s masterful direction wash over me like a great big Giallo tidalwave. And I loved it! Apparently when this was first released the critics on the whole hated it. More fool them. This film is gorgeous and brilliant on so many levels.

There are other Argento films I like more but Inferno is still horror by a true artist and auteur.

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The BBFC cut the cat cruelty scenes.

4 out of 5 stars

Review- ‘Torso’ (1973)

Review- ‘Torso’ (1973)

When you recognise a murder weapon which could implicate a hacksaw wielding murderer who’s already killed two other people, what do you do? You go to stay in a remote secluded clifftop villa with your friends, that’s what! Nothing could go wrong…

This is a fantastic slice of giallo directed by Sergio Martino in 1973. It’s all here- the sumptuous locales, the amazing insistent music score, the deft and stylish cinematography and direction. But, best of all, there’s one of the most disturbing and iconic killers in giallo history (which is really saying something). And not only does he look great but he also kicks ass.

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This film expertly builds tension with some scenes reminding me of the later Halloween. I wonder if Carpenter had seen this film before making the 1978 classic. I sure as hell hope the makers of the new Halloween film have seen this film (I bet I know the answer to that question but I’ll wait until this film is released to either have my hunch confirmed or refuted).

An example of this tension within Torso would be the scene in which the lone survivor is in the villa with the killer thinking that there’s no one else there. She’s locked in her room but decides to try to get the key which is still in the lock on the outside of the door to fall onto a sheet of newspaper which she’s slid underneath. This way she can slide the key under the door and try and free herself. But then…you’ll have to watch the film to find out what happens. It’s a great scene in a great film.

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Imagine seeing this double-bill!

When it comes to giallo everyone seems to know the work of Dario Argento, Lucio Fulci and Mario Bava and for good reason. But Sergio Martino is an example of another giallo director who doesn’t get the attention he deserves. This is a shame as his work is stellar. And Torso is a great ‘in’ for the horror fan wanting to investigate his work.

4 out of 5

Day 29- 31 Days of Halloween- Prom Night (1980)

Day 29- 31 Days of Halloween- Prom Night (1980)

A childrens game goes horribly wrong and a child falls backwards from the first floor window of an abandoned building and dies. The remaining kids vow to never tell anyone about what happened. Its now 7 years on and the children in the gang are preparing for their prom night. They one by one start to receive menacing phone calls…

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I first saw this and expected to see a C grade slasher movie- one of the many mediocre movies made in the wake of Halloween.

Boy, was I wrong! Theres loads to love about this movie. Firstly, Jamie Lee Curtis is in it. Shes such a great actress that if shes on the cast list you can expect a stunning performance. Not only is she another kick arse Final Girl but we also get to see her disco moves. She also has a great exchange with the school bitch. This features some fantastically camp lines (‘Its not who takes you to the prom. Its about who takes you home!’) Jamie wins and has the last word in this verbal volley naturally.

Another great feature of this film is that its actually very scary in the appropriate scenes. The killer ringing the teenagers one by one is a scene so threatening and jarring that its a sequence that is one of the scariest I’ve ever seen in any horror film. The simplicity of the scene (just a hand, a pencil, the school yearbook, the list of names and the phone) is extremely effective and downright chilling.

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The film is also brilliantly chilling as it touches on the subject of paedophilia- a local sex offender is known to the police and they think he is the reason for the dead little girl. They hound him to such a degree that he crashes his car which bursts into flames. The police had no evidence that it was him but hey, hes so disfigured that he now can’t commit anymore crimes and is placed in an asylum.

And there are the actual kills and the scenes they are contained within which are directed with aplomb. These are very tense and unnerving. OK so this certainly isn’t John Carpenter’s Halloween but these scenes are still very good for a slasher movie.

With Halloween being a major influence on this film there are also the atypical scenes of the female characters talking about, y’know, girls things- boys, hair, going to the prom etc etc. In fact in the book Blood Money it has been suggested that there were two types of advertising for this film- one that dwelt on the themes thought to be more appealing to a young female demographic (the disco music, the relationships and drama within the film) and one that dwelt on what was thought to appeal to the guys- namely the tension, suspense and kills.

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The film really does feel like a cross between Halloween, Carrie (the prom setting and the potential for carnage in this setting) and Saturday Night Fever- this film has disco stomps and a brilliant disco soundtrack that strangely provides a brilliant and sinister backdrop to the murders.

Another great feature is that of the character of Slick. Just like the bawdy British comedies of the 1970’s featured the most unlikely candidates for male eye-candy who somehow get the women, so does this film. Slick thinks hes a modern day babe magnet. I’ll leave it up to you to agree or disagree with his self perception.

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This movie also has one of the most hilarious characters in horror history- look out for Mr Sykes played by Robert Silverman (he would also appear in Scanners and Jason X). Is he the killer or a far too obvious red herring?

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Prom Night is far too good than a Halloween rip-off slasher movie deserves to be. If Halloween is A+ then Prom Night is B+

If you’re going to buy this film please look out for the Region 1 Blu ray from Synapse Films. The best transfer and bonus features I’ve ever seen for ANY Blu ray title. Stunning.

4 out of 5.

Day 18- 31 Days of Halloween- Zombie Flesh Eaters (1979)

Day 18- 31 Days of Halloween- Zombie Flesh Eaters (1979)

A boat sails into New York but the only person onboard happens to be a morbidly obese zombie who seems to be pissed off and hungry. The daughter of the boat’s owner decides to venture to where her father had been, a Caribbean island called Matul. She takes along with her a journalist who smells a story.

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This film was butchered by the BBFC on its initial release. The distributors decided to release a stronger uncut version that then lead to the film being banned and placed on the DPP video nasties list.

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This film is reknowned for going the extra mile. Ever wondered what would happen if a zombie took on a shark? Of course you have! This film features it. Add to the mix a revolutionary eye-gouging scene, a great score by Fabio Frizzi and one of the most iconic ending scenes in horror history. Oh, and some of the most annoyed zombies with especially bad attitudes and you have a great movie.

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This Italian shocker directed by maestro Lucio Fulci actually billed itself as a sequel to the Argento cut of Dawn of the Dead in Italy. Is it a masterpiece like Dawn? No. But its still one hell of a ride.

31 Days of Halloween 2017

31 Days of Halloween 2017

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Every day in October I will be reviewing a different horror film.

Some of the criteria I’ve used for the choice of films are

– a film from each decade from the 1920s onwards

– films from a number of different countries

– a Friday the 13th film as within October this year the 13th falls on a Friday!!! (mind blown)

The rest of my choices were films that I had wanted to see for ages but hadn’t gotten around to or were films that I have seen before but was dying to revisit (three of the films have ratings already by myself. These are some of the films that will be revisited and be reviewed again to see if my opinion has changed).

When I had my list of films they were then fed into an online randomiser so that they could be mixed up. With my randomised list I made one change- I made sure that the film watched on the 13th of October was the Friday the 13th movie. But thats the only change.

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Here are the films-

Day 1- The Nanny (1965)

Day 2- Battle Royale (2000)

Day 3- The Exorcist (1973)

Day 4- Piranha (1978)

Day 5- Dark Night of the Scarecrow (1981) and Tales From The Unexpected episode ‘Flypaper’ (1980)

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Day 6- The Abominable Dr Phibes (1971)

Day 7- The Fog (1980)

Day 8- Eyes Without A Face (1960)

Day 9- Phantasm (1979)

Day 10- Nosferatu (1922)

 

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Day 11- Blood Beach (1980)

Day 12- The Hills Have Eyes (1977)

Day 13- Friday the 13th Part 4- The Final Chapter (1984)

Day 14- M (1931)

Day 15- Freaks (1932)

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Day 16- The Tingler (1959)

Day 17- Drive-in Massacre (1976)

Day 18- Kill Baby, Kill (1966)

Day 19- Invasion of the Bodysnatchers (1978)

Day 20- Ginger Snaps (2000)

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Day 21- The Beast With Five Fingers (1946)

Day 22- The Incredible Melting Man (1977)

Day 23- Ringu (1998)

Day 24- Tombs of the Blind Dead (1972)

Day 25- Henry: Portrait of a Serial Killer (1986)

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Day 26- Les Diaboliques (1955)

Day 27- The Sadist (1963)

Day 28- The Lift (1983)

Day 29- Prom Night (1980)

Day 30- It Follows (2014)

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Day 31- Seytan (1974)

Please join me on this horrifying journey 🙂

Tenebrae – Day 24 – 31 Days of Halloween

Tenebrae – Day 24 – 31 Days of Halloween

Probably Argento’s best movie in my opinion.

A successful writer Peter Neal is visiting Rome from America. He becomes aware that a serial killer is on the loose and strongly influenced by his work.

This film is staggeringly good. Prepare to be astounded by the tracking shot of the outside of the apartment block- one of the best shots I’ve ever seen in a film. Also, the scene where a characters arm is chopped off with an axe and her blood completely redecorates a wall. Directed with the usual flair and attention to detail and aesthetics that you’d expect from The Master.

This film also features an amazing turn by the legend John Saxon. Argento manages to coax a wacky, insane performance out of the actor which steals the show. Look out for the scene where he shows how his hat stays on no matter what.

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The ending is a master stroke also. I’m certainly not going to spoil the surprise here but its a corker and doesn’t feel forced or contrived.

This film came a cropper in Britain- it was mixed up in the 80s Video Nasties moral panic and was banned for years. There seems to be three vile repercussions of the DPP list- obviously the fact that it prevented the viewer watching what they wanted but also that masterpieces like Tenebrae were banned and much lesser films were immortalised. Wrongly so- some of the films on the lists should have disappeared without a trace otherwise.

Even the poster for Tenebrae caused a commotion. The original poster features the blood from a neck wound on a female victim. This was too much for London Underground who said that they wouldn’t display the posters as they were too graphic. Hence the red trickle of blood was instead replaced by a red ribbon for the UK posters and even the soundtrack art here.

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The original poster
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The altered poster- now fit for London Underground
If you love horror, see this film. If you love giallo, see this film. Damn- if you love cinema full stop- SEE THIS FILM.

5 out of 5