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weirdlookindog · 1 month

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La vera storia della monaca di Monza (1980)

AKA The True Story of the Nun of Monza

#la vera storia della monaca di Monza #the true story of the nun of monza #zora kerova #paola corazzi #1980s movies #1980 #bruno mattei #drama #nunsploitation #exploitation #lobby cards

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abstractionsinyellow · 1 year

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Lucio Fulci, Lo squartatore di New York, 1982

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eaktionsshaytan · 1 year

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#aristide massaccesi #joe d'amato #antropophagus #horror #Horror movie #splatter #Serena Grandi #zora kerova

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moviemosaics · 6 months

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The New York Ripper

directed by Lucio Fulci, 1982

#The New York Ripper #Lo Squartatore di New York #Lucio Fulci #movie mosaics #Jack Hedley #Almanta Suska #Almanta Keller #Andrea Occhipinti #Andrew Painter #Paolo Malco #Alexandra Delli Colli #Zora Kerova #Cinzia de Ponti #Babette New

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watching-pictures-move · 4 months

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Viddying the Nasties | Anthropophagus (D'Amato, 1980)

I decided to revisit this upon learning of Tisa Farrow's passing. Farrow gets some cute moments with her male co-stars and makes for a pretty appealing lead, so despite some of the horrible things that happen, this is a nice movie to remember her by. While these classic Italian splatter movies aren't necessarily known to be actors' showcases, you watch enough of them, and see the same actors pop up time and time again, and in a way they become your friends. So along with Farrow, it was nice to spend some time again with some other familiar faces.

Like Zora Kerova as an erratic psychic, although her inability to predict anything specific brings to mind a piece of wisdom from the great Jean-Claude Van Damme: “If you phone a psychic and she doesn't answer the phone before it rings, hang up.” And Serena Grandi, who has nothing to do but be very pregnant, although as pregnant performances in genre movies go, she ranks below Tisa's sister Mia in Rosemary's Baby and Chen Ping in The Vengeful Beauty, who would wince and hold her belly in between fight scenes. But out of the protagonists, I think the best used is Margaret Mazzantini, who is great at looking sc-sc-scared!!! with her appealingly wide eyes anytime she senses the monster is near from the scent of blood. Although when we first meet her, she leaps out a-stabbin' from a barrel full of blood, which I would assume would dull her senses somewhat. This is right after a cute little cat leaps onto a piano.

And most importantly, there's George Eastman as the titular monster. Like seemingly many of his movies, he plays a disgusting freak, but this time it's not just in the contents of his heart, he looks like one too. When I first saw this, I hadn't seen any of his other movies previously, so I kind of assumed that this is what he'd actually looked like. I mean, not the awful complexion, I knew that was makeup. But I definitely assumed he had the same hairline. Luckily there are family photos and a flashback that along with creating and then dispelling the central mystery, hold some educational value for those similarly unfamiliar with Eastman outside of this one movie. When I first watched this, I remember finding the initial reveal, which comes about halfway into the movie, a little lame. I'm not gonna pretend that's not still the case, but I do appreciate that Joe D'Amato quickly realizes his mistake and tries to correct for it by pushing Eastman back into the shadows, and during such scenes, I can appreciate this would have played great on a murky VHS in which you could barely make him out as he skulks around, a-stabbin' and a-bitin' and doing all the other horrible things he does. But for the rest of the movie, I can appreciate how well this plays in the relatively pristine forms it's now easily available in, as D'Amato strengths as a cinematographer are readily evident.

I was pleasantly surprised during my initial viewing how low key this was, and appreciated its commitment to building suspense by withholding the gore gags. Like I said, you don't even get to see the monster until halfway into the movie, and the scenes the movie is best known for, two outrageously gnarly scenes of violence, come within the last third or so. I can understand why those expecting a nonstop gorefest might be disappointed, but I like the way this movie almost lulls you to sleep with its pleasant scenery, the blindingly white beaches and buildings of the coastal village during the day, the darkened corridors and catacombs lit only by candles or torches. (Anyone like me who likes creepy corridor scenes will get a kick out of this.) The vacation vibes here are strong. Never mind the heavy breathing during the shots where the characters may or may not be getting spied on from a distance. What could go wrong?

And when you've dozed off, BAM! He hits you with a horrific gore scene. Within the first few minutes, we get some underwater bloodletting and some classic D'Amato face trauma. And of course there are those two all-timer scenes I mentioned, one unbelievably mean-spirited gag where Eastman, uh, gets the munchies for a California cheeseburger (D'Amato used a skinned rabbit covered in blood), and an equally outrageous final scene where Eastman get the munchies for, uh, himself. There's even some comic relief in the form of Eastman rolling off a rooftop after getting hit in the leg with a pickaxe like in a slapstick comedy. Is it intentional? Who cares?

As I'm gotten somewhat better versed in D'Amato's work, this now gives me some of the same queasy vibes as his Caribbean porno horrors, but is probably a more palatable watch. One, you don't get the same nauseating sense of heat and exhaustion as the vacation buildup is at least pleasant on the surface. Two, without the hardcore scenes, this runs at a more digestible hour and a half instead of the brutal two hour runtime of some of those. Three, without the hardcore scenes, you don't have to experience the raw, unmitigated horror of Mark Shannon's suspiciously textured balls in closeup. The only thing warty here is Eastman's monster makeup. Which I guess makes it a comparatively less scary movie. But otherwise it's a more enjoyable one.

#film #movie review #anthropophagus #the grim reaper #joe d'amato #viddying the nasties

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suspiria76 · 2 years

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Well isn't this something?

Just had a photo gallery for CANNIBAL FEROX flagged as inappropriate material, appealed the decision and LOST.

And this photo gallery was originally posted a few YEARS ago, and has been reblogged by quite a few people. AND the shot of Zora Kerova strung up with Hooks through Her Tits has been posted by other people here, WITHOUT being flagged as inappropriate!

How very Fucking STUPID indeed.

#cult horror #italian horror #video nasty #umberto lenzi #stupidity

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alfredsnightmare · 3 years

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The New York Ripper (Lucio Fulci, 1982)

#Lo squartatore di New York #The New York Ripper #Lucio Fulci #Almanta Suska #Andrea Occhipinti #Zora Kerova #80's Horror #Giallo

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fryesmoviereview · 3 years

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Cannibal Ferox- 1981

Giovanni Lombardo Radice, Lorraine De Selle, Danilo Mattei, Zora Kerova, Walter Lucchini, Robert Kerman, John Bartha, Venantino Venantini

Review: This movie was not well written, well acted, and it's not scary. The real horror is in the morals of the people that made the movie. When I want to watch a horror movie, I want to watch people fake die, and be entertained. I don't want to watch real animals, be actually tortured and killed.

This is one of those movies that's not trying to tell a good story, or make a statement about something, it's made with the pure intention of trying to gross out, and be the goriest thing you've ever seen.

Their is no substance to this movie. The story is dumb, the characters are shallow, and purposefully written to make the audience hate them so we cheer along as they get killed.

It was made with the sole intention to drive people into the theater from pure curiosity to see how gross it could get. The tag line for the movie was even "The Most Violent Film Ever Made".

The whole movie was built around how gory it could get, and then the effects of the gore were cheap and obviously fake. They didn't even color the blood of one of the people right in one of the more graphic scenes. It was lazy.

Don't waste your time watching this movie, I'm judging myself for finishing it.

3.5/10

#Giovanni Lombardo Radice #Lorraine De Selle #Danilo Mattei #Zora Kerova #Walter Lucchini #Robert Kerman #John Bartha #Venantino Venantini #movie review #review #1980s #1981 #cannibal ferox

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vsthepomegranate · 3 years

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La Raggaza del Vagone Letto (1980)

by Fedinando Baldi

#Italian Cinema #Silvia Dionisio #Werner Pochath #Zora Kerova #thriller #horror #1980s movies

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ladamarossa · 4 years

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The New York Ripper (1982)

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cannibalguy · 3 years

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Eat your heart (ETC) out: ANTROPOPHAGUS (Joe D’Amato, 1980)

Joe D’Amato was a prolific director of around 200 films in a wide range of genres, but is best known for his horror and erotic ones. Antropophagus is not one of his ‘best’ (if that word even means anything in these genres) but has developed a cult following in the forty years since its release. D’Amato did not make many cannibal films for some reason – we have previously reviewed his Black…