Full disclosure: The Amityville Horror films do not make up my favorite franchise. And it has nothing to do with the central “haunted house” premise, but rather the execution of the series thus far, from the serviceable ground zero template, The Amityville Horror (1979) through the (as yet unseen) upcoming Amityville: The Awakening, with some stops in between at DTVville (not to mention the Ryan Reynolds remake; but I said not to mention, so not mention I shall). The name is so shopworn now that “Amityville” has become synonymous with “poopy”.
But, but, But…let’s rewind to a time when a follow up to the kind-of goofy James Brolin (and his glorious perm) starrer was actually anticipated. That film was a smash success at the box office, and the powers that be wanted to revisit the village of Amityville to see what other demons they could find in the basement.
But, but, But…let’s rewind to a time when a follow up to the kind-of goofy James Brolin (and his glorious perm) starrer was actually anticipated. That film was a smash success at the box office, and the powers that be wanted to revisit the village of Amityville to see what other demons they could find in the basement.
- 3/18/2017
- by Scott Drebit
- DailyDead
"The Most Beautiful Wife" The 'double standard' between men and women reveals its roots in paternalistic barbarism, as demonstrated by this quality Italo crime picture about a young woman claimed against her will by a Mafia thug. The gorgeous star Ornella Muti makes her debut; the sinister Mafia punk is Alessio Orano. It's strong stuff, but not exploitative. La moglie più bella Blu-ray Twilight Time 1970 / Color / 1:85 widescreen / 109 min. / Street Date September 6, 2016 / The Most Beautiful Wife / Available from the Twilight Time Movies Store24.95 Starring Ornella Muti, Alessio Orano, Tano Cimarosa, Pierluigi Aprà Cinematography Franco di Giacomo Production Design Umberto Turco Film Editor Antonio Siciliano Original Music Ennio Morricone Written by Damiano Damiani, Sofia Scandurra, Enrico Ribulisi Directed by Damiano Damiani
Reviewed by Glenn Erickson
One doesn't expect an Italian crime film to help bring about social change, but this show may be an exception. Frankly, its dark them fits right...
Reviewed by Glenn Erickson
One doesn't expect an Italian crime film to help bring about social change, but this show may be an exception. Frankly, its dark them fits right...
- 9/12/2016
- by Glenn Erickson
- Trailers from Hell
We're back again with the third chapter in our ongoing feature on vintage Italian cinema thrillers, and since we've previously covered titles from Lucio Fulci (Don't Torture a Duckling) and Mario Bava (A Bay of Blood), it's time we examined a film from the final member of the genre's “Big Three,” Dario Argento. While Argento's most beloved work is unquestionably the stunning 1977 horror classic Suspiria, which was set in a dreamlike supernatural world, he was previously most famous for his pioneering approach to the giallo genre, beginning with the stylish The Bird with the Crystal Plumage – the huge success of which earned him the nickname “The Italian Hitchcock,” a handle he didn't particularly care for at the time. After that film, audiences craved more thrillers with Dario's eccentric touch, leading to what is loosely described as his “Animal Trilogy,” in that all of the titles include the name of an...
- 2/23/2013
- by Gregory Burkart
- FEARnet
FORGET PARIS
Columbia Pictures
In this bright Castle Rock film, Crystal stars as Mickey, a commitment-shy NBA referee who bounces around the country dating NBA cheerleaders and leading the kind of charmed life that only guys in beer commercials seem to attain. He has no real woman, until he meets a sardonic airline representative (Debra Winger) in Paris.
Beneath its breezy banter, which adeptly allows Crystal to drill a bunch of long-range comedy bits between serious moments, "Forget Paris" is ultimately a sobering look at the dynamics of a relationship.
Screenwriters Lowell Ganz, Babaloo Mandel and Crystal have rimmed this serious story with a delectably frothy garnish of apt one-liners and droll observations, which, when wedded to director Crystal's zingy visual compositions, make "Paris" a bubbling treat (HR 5/14).
Duane Byrge
DIRTY MONEY Northern Arts
James Bruce's contemporary noir thriller has all the atmosphere and quality of an episode of "America's Most Wanted". No surprise; Bruce was a regular director of that television show, and his debut feature was filmed on the fly, on weekends, with a cast that was recruited almost entirely from the series.
Lately, there have been many stories like this with happy endings (awards at Sundance, major studio distribution deals, etc.), but this is not one of them. "Dirty Money" betrays its slapdash beginnings with regularity and is unlikely to cash in on the independent film-noir craze that has lifted "Red Rock West" and "The Last Seduction", among others, to surprisingly good boxoffice.
The film is refreshingly free of pretensions but is simply not done well enough to convince, with the technical aspects all too reflective of the low budget. The acting, too, isn't up to feature standards, with Frederick Deane (who also scripted and co-produced) not exactly having the charisma of Harrison Ford as a fugitive (HR 5/12-14).
Frank Scheck
THE POSTMAN Miramax Films
Romantic and humorous, bucolic and political, "The Postman" (Il Postino) is a thoroughly Italian missive directed by an Englishman that features the brilliant final performance by Massimo Troisi.
The Miramax release is a perfect seasonal alternative to the early summer offerings from Hollywood and should deliver excellent returns on the select-site circuit.
Directed with care by Michael Radford ("1984", "White Mischief") in consideration of the fragile state of his star, "The Postman" concerns the friendship between exiled Chilean poet Pablo Neruda (Philippe Noiret) and an inquisitive local (Troisi) when the former takes up residence on a beautiful Mediterranean island.
Before filming began, writer-director-actor Troisi ("Ricomincio da Tre"), who had undergone heart surgery in his mid-20s, became seriously ill. But he put off a heart transplant to make the film. He was available only a few hours each day, and 12 hours after the production wrapped, he died in his sleep at age 41.
The basic elements of Antonio Skarmeta's original novel have been transported from Chile to the small confines of an Italian fishing village with no discernible compromises. Cinematographer Franco Di Giacomo captures the simplicity and timeless splendor of the Salina Island locations (HR 5/11).
David Hunter
Other reviews
Also reviewed last week was "Dreaming of Rita" (HR 5/12-14).
(c) The Hollywood Reporter...
Columbia Pictures
In this bright Castle Rock film, Crystal stars as Mickey, a commitment-shy NBA referee who bounces around the country dating NBA cheerleaders and leading the kind of charmed life that only guys in beer commercials seem to attain. He has no real woman, until he meets a sardonic airline representative (Debra Winger) in Paris.
Beneath its breezy banter, which adeptly allows Crystal to drill a bunch of long-range comedy bits between serious moments, "Forget Paris" is ultimately a sobering look at the dynamics of a relationship.
Screenwriters Lowell Ganz, Babaloo Mandel and Crystal have rimmed this serious story with a delectably frothy garnish of apt one-liners and droll observations, which, when wedded to director Crystal's zingy visual compositions, make "Paris" a bubbling treat (HR 5/14).
Duane Byrge
DIRTY MONEY Northern Arts
James Bruce's contemporary noir thriller has all the atmosphere and quality of an episode of "America's Most Wanted". No surprise; Bruce was a regular director of that television show, and his debut feature was filmed on the fly, on weekends, with a cast that was recruited almost entirely from the series.
Lately, there have been many stories like this with happy endings (awards at Sundance, major studio distribution deals, etc.), but this is not one of them. "Dirty Money" betrays its slapdash beginnings with regularity and is unlikely to cash in on the independent film-noir craze that has lifted "Red Rock West" and "The Last Seduction", among others, to surprisingly good boxoffice.
The film is refreshingly free of pretensions but is simply not done well enough to convince, with the technical aspects all too reflective of the low budget. The acting, too, isn't up to feature standards, with Frederick Deane (who also scripted and co-produced) not exactly having the charisma of Harrison Ford as a fugitive (HR 5/12-14).
Frank Scheck
THE POSTMAN Miramax Films
Romantic and humorous, bucolic and political, "The Postman" (Il Postino) is a thoroughly Italian missive directed by an Englishman that features the brilliant final performance by Massimo Troisi.
The Miramax release is a perfect seasonal alternative to the early summer offerings from Hollywood and should deliver excellent returns on the select-site circuit.
Directed with care by Michael Radford ("1984", "White Mischief") in consideration of the fragile state of his star, "The Postman" concerns the friendship between exiled Chilean poet Pablo Neruda (Philippe Noiret) and an inquisitive local (Troisi) when the former takes up residence on a beautiful Mediterranean island.
Before filming began, writer-director-actor Troisi ("Ricomincio da Tre"), who had undergone heart surgery in his mid-20s, became seriously ill. But he put off a heart transplant to make the film. He was available only a few hours each day, and 12 hours after the production wrapped, he died in his sleep at age 41.
The basic elements of Antonio Skarmeta's original novel have been transported from Chile to the small confines of an Italian fishing village with no discernible compromises. Cinematographer Franco Di Giacomo captures the simplicity and timeless splendor of the Salina Island locations (HR 5/11).
David Hunter
Other reviews
Also reviewed last week was "Dreaming of Rita" (HR 5/12-14).
(c) The Hollywood Reporter...
- 5/16/1995
- The Hollywood Reporter - Movie News
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