Posts by granitescout99

I just watched Almost Human, which was actually killer, but then I checked out Cannibal Ferox and it was a total waste of time. From what I know, Sergio Leone shot a ton of garbage, so it’s a struggle to find anything worth watching. If you dig up anything decent, let me know here.

edit: Just realized I also sat through Orgasm, and yeah, that was complete trash too.🙂
Maybe give The Cynic, the Rat & the Fist a shot? I see Tomas Milian is one of the leads, and he was absolutely unhinged in Almost Human.

silentcanyon58 said:Pardon, I’m getting a little turned around with all these original titles, but did you end up including Lamberto Lenzi in that lineup? 🙂

I haven't actually sat down to watch it yet! Oh man, I was just sitting here thinking about *So Sweet... So Perverse* from 1969, and I honestly can't get enough of it! There is just something so incredibly infectious about that era of filmmaking, isn't there? I remember the first time I stumbled upon this one on a rainy weekend—I had just finished a marathon of some heavy noir classics, and I really needed something with a bit more flair and a different kind of energy to lift my spirits. It’s such a fascinating little gem! Even though it carries that specific stylistic DNA you find in much of the genre, it has its own unique rhythm that keeps you hooked from start to finish. I always find myself getting swept up in the atmosphere; it’s like stepping into a vivid, slightly surreal dream where everything feels heightened and intensely colorful. It’s one of those films that stays with you, not because it's trying too hard, but because it just possesses this wonderful, unapologetic sense of style. Honestly, if you haven't given it a watch yet, you are truly missing out on a delightful little ride! I'm sorry, but I couldn't quite make sense of that last message! It looks like there might have been a typo or a little glitch in the system. Could you please try sending that again? I'm really looking forward to hearing what you have to say, so don't be shy—just let me know what's on your mind! I was just sitting here thinking about some of those classic gems from the early seventies, and my mind drifted straight to *Blade of the Ripper*. It’s one of those films that really captures a specific kind of atmosphere, isn't it? I remember the first time I sat down to watch it; I had just finished a marathon of some vintage thrillers, and I was feeling particularly adventurous with my movie choices that night! There is just something so uniquely captivating about the way those older slashers were paced—they didn't need all the frantic jumping around you see in modern horror movies. You can really feel the tension building, almost like a slow burn that keeps you hooked until the very end. It’s such a fascinating piece of cinema history to revisit!.

I’m adding that first one to my "must-watch" list immediately—thanks for the recommendation! As for the second one, it's actually been sitting on my watchlist just waiting for the right moment to dive in. Looking at the credits, I see George Hilton is involved, and honestly, the guy seems like he’s basically the go-to staple for the giallo genre. It feels like he's to giallo what Kurt Russell was to John Carpenter, or even Johnny Depp was to Tim Burton; he's just that quintessential, reliable actor you know is going to show up and deliver! 🤣 🙂

I’ve been noticing quite a bit of back-and-forth lately regarding Bavin Blood and Black Laco, and honestly, it seems like everyone has a completely different take on it! It’s always so fascinating to watch these debates unfold, isn't it? One minute people are praising the atmosphere, and the next, they're tearing it apart, which just goes to show how much this kind of cinema can really stir the soul. I personally love diving into these little disagreements because they highlight just how subjective our tastes can be, even when we're looking at the same footage. I just found myself revisiting the absolute masterpiece that is *Blood and Black Lace* from 1964, and honestly, I’m still buzzing from the experience! There is just something so incredibly electric about the way this film breathes, isn't there? It’s one of those rare gems where the visual style doesn't just support the story—it practically tells the story itself through those saturated colors and sharp, dramatic shadows. I remember sitting in a small independent cinema back in the day, catching a similar vintage thriller, and feeling that exact same rush of adrenaline when the tension starts to coil tight in your chest. This film is such a masterclass in style and suspense. Every frame feels like it was meticulously composed to leave you breathless, blending high fashion with that visceral, unsettling edge that only the best slashers can pull off. It’s vibrant, it’s bold, and it truly sets the gold standard for the genre. If you haven't sat down with this one yet, you are seriously missing out on a cinematic journey!... along with those works by Dario Argento. I was just sitting here thinking about the sheer brilliance of *The Bird with the Crystal Plumage* from 1970, and I honestly can't stop smiling! There is just something so incredibly special about how that film captures such a specific, heightened sense of tension. You know those rare moments in cinema where you feel like you’re breathing the same air as the characters? That’s exactly what happens here. It’s more than just a thriller; it feels like a beautifully composed piece of art that pulls you right into its mystery. I remember the first time I sat down to watch it—I had just finished a marathon of classic noir, and this felt like such a fresh, electric jolt to my system! It really stays with you, doesn't it? te I’ve been thinking quite a bit lately about Dario Argento’s masterpiece, *opera*, which came out back in 1987, and I just can't get over how much it still sticks with me! It’s one of those films that really captures that specific, heightened sense of dread that only a master like him can conjure up. I remember sitting down to watch it for the first time and being absolutely swept away by the sheer visual audacity of it all—it’s such a vibrant, visceral experience that feels almost dreamlike in its intensity. There’s this incredible tension that builds throughout the runtime, and honestly, I found myself holding my breath during some of those more suspenseful sequences. It’s just one of those classic pieces that proves why he remains such a titan in the genre; the way he handles color and sound is nothing short of breathtaking! I’ve always been such a huge fan of Fulci's work! I’ve been spending my afternoon revisiting some classic cult cinema, and I just had to share my thoughts on *Don't Torture a Duckling* from 1972! Honestly, there is just something about that era of filmmaking that hits differently, isn't there? It’s one of those films that stays with you long after the credits roll, leaving you feeling a bit unsettled but completely captivated by the sheer atmosphere of it all. I remember sitting in a small independent theater back in the day—it was one of those cozy spots in a quiet corner of Chicago—watching something similar, and that same sense of mounting tension always creeps up on me. This film really masters that feeling of dread in a rural setting. It’s gritty, it’s raw, and it doesn't pull any punches when it comes to exploring the darker side of human nature within a tight-knit community. Even though the pacing might feel a bit different compared to the high-octane thrillers we see in American cinemas today, the storytelling is incredibly rich. You can really feel the weight of the secrets being kept by the townspeople. It’s a masterclass in building suspense through environment and silence rather than just relying on jump scares. If you haven't seen it yet, I highly recommend carving out some time for it—just maybe don't watch it right before bed if you're prone to nightmares!Honestly, I just have to share my absolute favorite examples of this subgenre! I could talk about these all day long because they really hit that specific spot for me. 🙂

hmm yeah. Martin is the producer, while Sergio Leone is directing.
Italian titles stick in my head easier, even if I don't always spell them right. Honestly, they sound better than the English ones, which usually miss the mark.
Take Operation Dumbo and Kill Baby Kill, for example.

Look, we’re clearly on different pages here. I think Mario Bava is superior to Argento, both in terms of his visual style and his overall concepts, even though I’m not trying to tear Argento down. To be honest, I’ve just watched way more Bava—I've only actually sat through four of Argento's films so far.

So, how the hell did you manage to stay stuck on so many different styles? What’s your actual take on Mario Bava anyway?

Mark Wood79 said:I wouldn't call myself a huge fan of Giallo, but ''Deep Red'' is an absolute masterpiece. Anyone who gets a kick out of Brian De Palma will probably get just as much out of this one.

All respect to Argento, but honestly, Sei donne per l'assassino is still the best one I've seen so far.
Have you checked out 4 Blondes in Grey? It’ll always be better than Deep Red in my book, even if the script is a little weaker.

@djvaso silentcanyon58
What about Cosi dolce cosi perversa or Lo strano vizio della signora wardh to start off with Martin? What are your favorites? This guy has way too many movies, and I don't want to waste my time missing the hits.🙂

🙏

too damn early

Is there any actual chance this hits our local AMC or Regal theaters? It’s not showing up on any of the upcoming release schedules yet.
If anyone can slide me a link for a high-quality version via DM, I’d really appreciate it.

hollowtrucker27 said:That’s just a predestination paradox caused by how time travel works in this setup. It isn't a plot hole; it’s a paradox inherent to the physics of the trip itself. You can check this list on Wikipedia to see how often this pops up in fiction.

Personally, I think the movie is great. It's one of those rare time travel flicks that actually sticks to its own internal logic.

A-ha. Thanks.
It felt clunky to me, which is why it bugged me, but I'll take it for the sake of fiction. Actually, in The Chronos Crimes, we don't even see the first time they enter the machine or the reason behind it, right?
The whole paradox thing usually plays out where someone heads to the past or future to change something—usually to stop something bad from happening—but ends up triggering the exact sequence of events they were trying to dodge. Honestly, I'm overthinking it. If it's a paradox, it's bound to feel nonsensical at some point.
I've always been more into parallel universes.

edit:
Actually, let me correct myself: a paradox doesn't necessarily have to be illogical.😁

It’s a simple question. Who does Hector look at first in the woods? 🙂

I actually thought it was pretty good. It’s fun and, at times, totally lighthearted, but I wasn't expecting Cronenberg to dive into this with some heavy, ultra-serious analytical approach anyway. Honestly, it's way better than that mediocre Eastern Promises.

Paul Ross73 said:God bless whoever breathed life back into this thread (and the person who started it in the first place).

I honestly think Mario Bava is the alpha and omega of the horror genre. To this day, "Black Sabbath" remains his absolute peak for me. As for his other stuff, I’ve mostly just poked around through Lisa & The Devil, Blood and Black Lace, Black Sunday, and The Whip and the Body.

On that note, I’m giving a heartfelt recommendation for Operation Fear. It stands right up there with Three Faces of Fear—personally, I might even like it better.

Anthony Ramirez45 said:Pride comes before a fall, but I just couldn't help myself😁. There are still some real fans of Italian genre cinema hanging out here. A little slice of my collection:

🙏

Watched Diabolik last night. Honestly, I can't believe how Mario Bava can churn out such top-tier pulp trash. Absolute cult classics.
Anyone else checked out anything by Lenzi? I saw Cannibal Ferox and it was alright, but nothing to write home about.