Before the zombie glut of the 2000s, one could count the number of Night of the Living Dead-type zombie films from Hong Kong on, well, one finger. Bio-Zombie is one of the few Romero-style zombie flicks to come from Hong Kong. The result is curious, to say the least. For the most part, it’s uneven but enjoyable.
I often forget that, for a little while, I worked at Atlantic Records. It was such a bizarre position that every day I was there, I wasn’t sure I still worked there. Even today, some fifteen years later, I’m not sure I ever actually quit, like maybe I could just show up tomorrow and everyone would shrug and go on with their business.
Lucio Fulci’s filmography is littered with bodies gruesomely snuffed out. There is a deep vein of cynicism running through the center of Don’t Torture a Duckling.
Mudy wants to get her son Tony laid. She enlists Rosalba Neri and they, in turn, enlist Edwige Fenech to do the job for a nice payday. The rub is that Tony is very much an introvert, possibly a psychotic, and definitely a firebug.
Sergio Sollima didn’t direct very many films. His career is split fairly evenly between theatrical and televised fare. Devil in the Brain is not what anyone would consider a technically outstanding movie, but it is solid in its craftsmanship.
In fairness, there does seem to be a genuine attempt to create an actual film here. Take the word “attempt” literally in this case. Moments of suspense and dread, though presented with apparent sincerity, are nonetheless clumsily presented few and far between.
Cruel Gun Story is based on a book by hardboiled crime novelist Haruhiko Oyabu. It tells the story of Togawa, a con who is sprung from prison early via the machinations of a mysterious underworld kingpin who wants Togawa to carry out a robbery that they’ve planned.
With Eye in the Labyrinth, Caiano demonstrates a sure hand in orchestrating his players, staging the action in striking tableaux, and allowing his creative muscles to stretch.