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Nudes for the massacre

... and the night TINS \u200b\u200bOF BLOOD (Born for Hell aka Naked Massacre - Canada / France / Germany / Italy 1976) by Denis Héroux
... And the night was tinged with blood (Trailer)

SHEET FILM

Cain Adamson (Mathieu Carrière) is a veteran, veteran in Vietnam, with (as any good self-respecting veteran of Vietnam) went from a hero of war and a mind that sees accumulation of mental and behavioral problems. Landed in Belfast, she finds herself wandering the streets, desperately trying to make ends meet, including soup kitchens, squalor, poverty and IRA bombings.

One day he finds himself, hungry and desperate, at the door of a small pension, inhabited by a group of young nurses. The girls, despite a certain wariness, the host, albeit for a short time of a simple meal.

However, in the tormented mind of Adamson quickly begins to take shape a plan, to be able to scrape together a little 'money. The same night, in fact, the veteran sneaks into the girl's house, with intent to rob. Once in the house, however, Adamson was caught by a violent spasm that causes him to torture and kill the young nurse, one by one ...

The film, directed by Canadian Denis Héroux (this is his penultimate film), is composed of two distinct parts: a subdivision of this, which requires an analysis separated. In the first part, the objective is to describe the hell of the interior and exterior character, plagued by their mental health problems and plunged into a grim reality of distressing squalor and poverty (material and interior).

From this point of view, the first segment of the film is perhaps the most interesting or at least the most successful, despite the work not just excelled Mathieu Carrière, very prolific German actor, especially on television. The attempt to psycho-social analysis, along with the outline of a protagonist who, though in search of inner peace, it shows penetrable and changeable than the bleak violence of the external environment (the background is that of Belfast in the middle of bloody battles, independence between the Irish and British government) are probably the only thing to save a film that collapses, inexorably, in the second part.

is here, in fact, that the script of Géza von Radvànyi (director, writer and producer of Hungary, to a certain thickness) shows its side weak. The attempt to give depth to the film, in fact, gives way to a second part, blatantly exploitative , where the protagonist turns (quite inexplicably, after all) in a murderous sex maniac. Adamson kidnaps the beautiful young nurse, oblige them to undress and have lesbian relationships, the torture and finally kill them. Despite these "delicacies" from gourmet happy that would make any fan of a certain film (de) generally does not push too Héroux (as it could and should, at this point), the pedal bloody dell'exploitation. We pass, therefore, directed by a stripped, essential, functional part of the first film, a triumph of tits, ass and hairy cespuglioni decidedly vintage but all in all, a lot boring and repetitive.

For the avid film lover should also be noted that the film of Denis Héroux shows interesting similarities with the film "Angels violated," directed by Koji Wakamatsu in 1967. Both films, in fact, inspired by the savage exploits, of which he became the leading American Richard Speck, in the 60s. Also in the film Wakamatsu, we find a young protagonist, disturbed and sexually repressed, decided to break into a dormitory for young nurses, with the intent to torture and kill. Mutatis mutandis, the movie Héroux, at times, seems like a Westernized version and diluted (Wakamatsu's film takes a little more than an hour) of "Angels violated." Obviously, the films of Koji Wakamatsu is something completely different and "Angels violated" in this case is a film that can actually, in an admirable and intelligent to talk about insanity, obsession and repression.

For the lover of beauty a bit ' retro , however, point out the presence in the film Héroux, Leonora Fani ("Giallo in Venice "" bestial, "" Hot Lips "), Ely Galleani (" The Way of prostitution, "" Black Venetian " "Emanuelle Nera: Orient reportage," "Mark the cop shoots first", "The police prosecute, the law serves," "A lizard-skinned woman", "5 Dolls for an August Moon") and Debra Berger ("Inglorious Bastards," "Emanuelle Nera: Orient reportage).

MEISTER STEINER SAYS: 3.5

Are Fruits Treated With Sulfur Bad For You

NOT into that room

1408 (1408 - USA 2007) directed by Mikael Hafstrom
1408 (Trailer)

SHEET FILM

one time, Mike Enslin (John Cusack) was a talented young writer with a bright future ahead. His life changed when, following the death of his daughter (devoured by an incurable disease) and the subsequent collapse of his marriage, his career as a writer takes a totally unexpected turn. From a promising young fiction, Mike is quite successful in becoming an author of essays, focusing on issues horrorifiche. Although a prolific writer and loved by fans of the genre, Mike Enslin has developed a deep skepticism towards all what usually is made to fall into the category of "paranormal", coming to feel a certain cynical pleasure in the lie to all the misrepresentations and fraud, hiding behind such phenomena.

One day, Mike receives an anonymous postcard from the Dolphin Hotel in New York, one of the most famous and luxurious hotels in the Big Apple. In the message, the writer is asked not to enter room 1408. Heedless of the warning, Mike accepted the unique challenge of being able to draw from that experience convinced the material needed for a new book.

coupling in hotel, is informed by the director Gerald Olin (Samuel L. Jackson) of the terrifying reputation that surrounds the notorious room 1408. Over the years, an incredible number of people have lost their lives, inside the room, in the most absurd and brutal. Most people, according to the testimony of the director, usually can not spend more than an hour in the room, without fleeing in panic.

Inspired by what he interprets as an attack on the role of "unmasking the deceptions," Enslin convinces the reluctant director Olin to get the keys of the haunted room, to spend a night in room 1408. ..

The conditions were all there, in order to achieve something more than a (albeit successful) honest and straightforward film version, of yet another literary work of Stephen King. Based on the short story, which appears in the anthology Everything's Eventual "," 1408 "despite the great response from the public (it was one of the most profitable film of 2007) and criticism (for many, the best horror film, released THAT 'year) is a film that, in my humble opinion, it can be said to be only partially successful. Despite the director, precise and careful, the Swedish Mikael Hafstrom (his "Evil - The rebel "received in 2003 a nomination Oscar for best foreign film) and the interpretation of a great John Cusack, perfect in the role of the cynical and disillusioned protagonist, supported by a "Mephisto" Samuel L. Jackson, the film is not very different from those that are the classic canons of traditional filmic transposition of the works of so-called " master of post-literate prose."

Although the film works quite well, observed from this angle, it seems to me frankly state this too, as did many critics as one of the most successful films, including those taken from King. Leaving aside (for obvious reasons) a film like "The Shining", as we can only compare "1408" in works like "Carrie, the eyes of Satan," "The Dead Zone," "Christine, the infernal machine" "Stand By Me - I remember one summer," "Misery", but also to the same "The Mist," released in the same year (that is, the best horror film of 2007, if not the last two decades! )?

However, the assumptions, as I mentioned before, everyone was there to give the viewer a cinematic experience slightly more significant. Credit is due to the film, for example, the merit of the suggestions have skillfully dodged most gruesome and hateful (as abused) tendency of some horror movies, free to "twist", now so overused and predictable from compel us to jump from his chair to practice, or mere solidarity with the authors.

The very idea of \u200b\u200bthe room as a place actually (and figuratively) locked, where the protagonist can not escape the ghosts of his past and is necessarily forced to come to terms, for the first time, with their deep and painful meaning of guilt (no idea borrowed from the original story, if I remember correctly), could be developed in a more original and far less simplistic.

Small curiosity: the name "Dolphin Hotel" was selected by Stephen King as a clear homage to the Dolphin Hotel, the legendary hotel in Sapporo in the snow in Hokkaido, in this "In the name of the sheep," the cult novel by Haruki Murakami and its ideal result "Dance, Dance, Dance."

MEISTER STEINER SAYS: 5.5

Radio Shack No Receipt Returns

ROAD MOVIE - TASTE MISO

19 (19 - Japan, 2000) Kazushi Watanabe

19 (Trailer)

SHEET FILM

Young Usami (Daijiro Kawaoka), while in broad daylight, is quietly along on his scooter , the outskirts of Tokyo, is suddenly approached by a trivial excuse, from three children aboard a Fiat 500. The trio, with no apparent reason, the charge weight in the car and kidnaps him. The terrified Usami is initially convinced that the three are willing to ask for a ransom, but with great surprise, he discovers that the only interest of the mysterious trio and include them in their raids. Gradually, the natural distrust of the boy is not, to be replaced by a singular sense of belonging to the group. Soon, in fact, the lifestyle is completely amoral, the three kidnappers Usami exercise on a growing fascination, to go to work with them, when the group will be involved in a tragic accident ...

" 19" is the directorial debut of Kazushi Watanabe (in 2004 he directed "Space Police" and 2007 "Captain Tokyo"), better known for his roles in 2001, the role the "visitor" in Pasolini "Visitor Q by Takashi Miike.

Based on an eponymous short of 1996 (and, apparently, inspired by actual events), "19" has the characteristics and structure of classic road movie (the trip as a metaphor for inner change, the attainment of maturity and awareness), merged with some solutions narrative and, above all, picaresque style close to the cinema of Takeshi Kitano.

Watanabe (who, in addition to directing, also signed the script and plays the role of Yokohama, the leader of the kidnappers) is able to amalgamate, with varying luck, all these ingredients , making a film, all things considered interesting (more so if we think that this is his first feature), although those with too many uncertainties that prevented me from fully buckled on enough.

Good evidence of the actors, all Kawaoka and Watanabe, Masashi Endo (already seen in key rockabilly, the delirious "Wild Zero"), but also the non-professional Takeo Noro and Ryo Shinmyo. In a brief cameo (it's the Highway Patrol) appears Nachi Nozawa, historical voice actor (his are the Japanese voices of Clint Eastwood, Al Pacino, Bruce Willis, Dustin Hoffman and many others).

Particularly intriguing photography, between the washed-out el ' Overlight , which gives the film a truly unique look.

MEISTER STEINER SAYS: 5.5

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Possession (Possession - France / Germany 1981) by Andrzej Zulawski
Possession (Trailer)

SHEET FILM

In Berlin a dreamlike and unreal, Mark and Anna (played respectively by Sam Neill and Isabelle Adjani) live with their son as soon as five years in a flat, practically adjacent to the famous wall.

The two are in full marital crisis. A crisis, after all, fairly conventional, with its usual lack of understanding, by mutual suspicion and dall'incomunicabilità which often is the backdrop to romantic relationships.

Mark, who works for the German secret services, he discovers his wife cheating on him with Heinrich, a strange man devoted to oriental practices, who lives with his elderly mother in an old building, relic German upper middle class.

Hoping to shed light in their marriage, the man decides to stop working. His superiors invite him, then, for a period for reflection but at the same time, gave him a new assignment, to say the least unusual find a strange man (possibly a former spy), to whom you do not know almost nothing, if not the inclination to wear pink socks.

Mark, obsessed by the behavior of Anna, increasingly bizarre and hysterical, entrusts the task of a private investigator to follow her. The detective discovers that she has rented, unbeknownst to her husband, an apartment in an old and decaying building. Here you will find the man at his own expense, a senseless and horrific truth. Anna, in fact, a second suitor: a Lovecraftian be obscene, with whom she performs regularly in tentacle sex.

In 1981, the Polish director Andrzej Zulawski ("The important thing is to love," "Love fool" and "shaman") Wayda former assistant, he made his most celebrated and controversial film.

Presented at the Cannes Film Festival, where an astonishing Adjani won the Palme d'Or for Best Actress, Zulawski's work was recognized immediately as the work extremely scandalous excessive, violent, unbecoming the viewer "traditionalist", but also redundant, annoying and free for the critics.

Film "cursed" by definition (the film was the subject of so many cuts and manipulations, that his actual life, even today, is a subject of debate), misunderstood by much of the criticism of the time (but now appreciated by a slice of the public not mainstream ), literally adored by a genius like David Lynch, "Possession" is without doubt one of the works more disturbing and provocative film history.

" Metaphysical Horror," "surreal journey dream-vision", "free and provocation Grand Guignol hysteria visionary" are just some of the labels and definitions that the film carries on his shoulders for nearly three decades. Apart from these obvious markings (which, however, have greatly contributed to the fame of the film), dried on filters, interpretations and viewpoints, what remains is the story of the failure of the traditional bourgeois couple's relationship. The representation of an unhealthy relationship degenerate and trivial, neutral and conventional at the same time. The depiction of a crisis that transports players to a painful state of normalcy, to one of unrelenting madness and abysmal. The story of a journey in a surreal scenario-metaphysical, to the madness, through obsession, the monstrosity (interior / exterior) and an unhealthy carnal and bloody frenzy, full of suggestions cronenberghiane.

ideal landscape for the way the two protagonists is a Berlin, before the dismantling of the Iron Curtain, uninhabited and unreal, that seems to escape from a painting De Chirico and Magritte. A desert town, metaphysical and surreal, and then impregnated with distorted and decadent atmosphere, where the only physical presence of man, in a disturbing sequence is documented with an old woman who rejoices in the distance after the explosion of a apartment. A room full of symbolism, sometimes all too obvious and smug, as in the case of the wall, symbol of the couple's inability to communicate, but also the division between good and evil, one of leitmotiv main film.

fundamental issue, which is inevitably that of doppelganger , the "double" in which we release into our obsessions and that becomes, in fact, our part monstrous, sick, and hidden . In the now famous scene underground (considered one of the most shocking sequences ever seen in a movie), Anna gives birth to two people (good and evil, black and white, male and female, east and west), one of which is identified with the most reassuring aspect of their personality, that is with Helen (also played by Adjani), the ideal Anna, tender and sweet kindergarten teacher and the other creature, part evil, protected and unspoken, is destined to become a kind of higher being, which will look like an idealized Mark. The good, seems to say Zulawski, is nothing but a pale reflection of the evil, at least until the apocalyptic final sequence, where, despite the triumph of the devil, good and evil are mixed up in a wonderful game of light and shade, on the face of ambiguous and beautiful Isabelle Adjani.

MEISTER Steiner says: 8

Coughs Taste Like Blood

POSSESSION OF THE NIGHT DRIVE IN (1)

IN RACE WITH THE DEVIL (with the Race Devil - USA 1975) by Jack Starrett
Running with the Devil (Trailer)

... The presence of RG Armstrong in "The Black Machine" got me back to mind another little cult movie of the '70s, in which the "Bob Ollinger" of "Pat Garrett & Billy the Kid" goes alongside the great Peter Fonda and Warren Oates, one of the most c HARACTERISTICS American cinema of those years ...

SHEET FILM

Two pairs of friends, I decided to spend their vacation in Colorado on a camper, inadvertently assist a human sacrifice by a mysterious sect of devil worshipers. From that moment will be the subject of "attention" of the members of the congregation, decided to obtain their silence, in a climate of growing unrest and suspicion.

The films are developed effectively (despite some small naive) some issues dear to the U.S. cinema, like the pioneering theme 's siege of conspiracy and conflict between city / country and civilization / barbarism. The novel pioneers took refuge in their camper / fort ("we are self-sufficient" wishes to reiterate Oates), surrounded by the ghosts of his own (justified) paranoia.
The last twenty minutes are nothing but a blatant homage to "Stagecoach" with Fonda who shoots from the roof of John Wayne as a camper, the camper instead of the same diligence, the asphalt in place of the desert and the worshipers of Satan that seem to Geronimo's warriors.

believe it is the usual, pointless remake.

MEISTER STEINER SAYS: 7.5

Gym Membership Prices

FANTASY SPAGHETTI BALLS

Paladins - HISTORY OF ARMS AND LOVE (Paladins - History 's arms and loves - Italy / USA 1983) by Giacomo Battiato

Paladins - History of arms and love (Temple Fight Scene)

SHEET FILM

In 1983, in the wake of "Excalibur" by Boorman, comes this delirious pop-medieval (co usa / Italy), directed by Giacomo Battiato, who was also the subject (an unlikely mix of Ariosto and Tasso).

The film, now let's say, is truly ugly, but guarantees a (do not know what would) especially alienating effect, perhaps because of the setting and costumes, which give the film an interesting atmosphere and a-historical and time (at one point there is also a samurai).

The cast is at least unusual: in addition to Barbara De Rossi, Tanya Roberts and Zeudi Araya, we find Ron Moss (!) And Maurizio Nichetti (in its worst interpretation, I believe), along with characteristic names the genre films of the period: Leigh McCloskey, Al Cliver, Hal Yamanouchi and Bobby Rhodes ...


Some ideas are not bad: in an early sequence, Barbara De Rossi (Bradamante) is attacked by a group of bandits losers. Before the three can give vent to their base instincts, there comes a gentleman who makes them (literally) into pieces. She raises the visor of the helmet to see the face of his savior, and under can not find anything. Probably, the most such a scene would not say much ... unless they were always fascinated and obsessed (like me) from that type of phobia, also expressed by J. Lorrain, in the story "The holes of the mask," which leads one to think that, behind a mask, you can hide anything.


Barbara De Rossi, shows the generous backsides (and a pretty sight). Ron Moss, who plays the role of Ruggero buckwheat, is not as bad as you might think, but my favorite remains Ferraù (Tony Vogel), who spits, is the facet of crazy and makes even the gesture of the middle finger in Orlando ...

The setting and costumes (Anna Cecchi) are excellent, even figosi (to put it to the Derek Zoolander).

MEISTER Steiner says: 5

How Do You Clean A Pressing Comb?

Galeon and

The Lost Continent aka the lost continent (The Lost Continent - UK 1968) and Michael Carreras (uncredited) Leslie Norman
aka The Lost The lost continent (Trailer)

SHEET FILM

In an old strip "Peanuts," Lucy has to illustrate the cover of the novel by Snoopy (the one that begins "was a dark and stormy night ..."). The cover, according to the instructions of the author, should represent a group of cowboys who, on the deck of a submarine, fighting against some of the soldiers Foreign Legion, all seasoned with a lot of lions and tigers. The big face aghast Charlie Brown when Lucy tells him that the beagle complained that in his plan does not appear enough tigers, is more or less the same big face bewildered that I did, when the first images of "The Lost" have appeared on my Mivar broken.

On the bridge of a modern merchant ship, completely wrapped in spirals of yellow fog, a funeral is taking place. Nothing particularly strange if it were not for the presence, along with sailors and passengers, some members of the English Inquisition, the conquistadors and soldiers with a lot of characteristic morione, blunderbuss and halberd.
It 'clear that a starting so eccentric as to fade Lansdale, can not but raise questions such as: and now how can they justify such a freak? and again, the explanation will be sufficiently bizarre? when the same captain (and I with him) asked: "How did we get to this point?", one senses that the time has come for the sprite of the flashback, to make its characteristic triple somersault back pike .
Many have likened, not unreasonably, the first part of "The Lost" a sort of Love Boat on acid.

On board a ship, departing from some West African country and direct in Caracas, is a fair example of humanity outcast (gimmick that can boast of illustrious predecessors, from "Stagecoach" down): a cantankerous and authoritarian Captain (novel Blight) his second cowardly (and fake blond), a drunk a bit 'marpione playing the piano, a very pretty blonde, who intuits be brief Leste (and spupazza fact, almost immediately, one of the sailors), the doctor father the blonde (sanctimonious and hypocritical, since it is actually much worse than the daughter), another blonde, this time matured, and a mysterious guy and wiry mustache, presumably all running from something. The second
pusillanimous, after discovering that the ship carries only losers, but also tons of tons of a particular explosive, which has the unique characteristic of making "boom" when in contact with water (great idea to carry it for ship), he realizes that the cargo is moving, flying drum, into the mouth of a storm (the captain pulled the sheet, keeping the crew in the dark, want to go forward at all costs and so on. etc.). . After an unsuccessful attempt to gain the support of passengers (which, after all, does not seem to import a club, nor the storm, much less explosive), the second is involved pusillanimous nell'ammutinamento cloths good crew. In the midst of the storm, the mutineers flee on a boat (even if it leaves us with a pen, the blonde from spupazzato to be precise), while the ship embarks water, especially in the galley where they packed the barattoloni containing l ' explosive that does "bum" on contact with water. The captain persuaded the passengers to help move the jars in a slightly drier. However, since the ship also seems destined to sink, the captain decided to abandon the cargo, trying their luck on the only free boat (all this after ten minutes good movie, having been moved from place to place cans).

In the following days, the boat's romance blossoms between the captain and milfona blonde (who actually is the former mistress of a powerful politician in South America, on the run) germinate well and a couple of deaths: the hypocritical doctor, who is swallowed by the sharks, because marpione drunkard (which from that moment on, redeem himself by saying goodbye to the bottle), and a sailor that's crazy right after , killed by a gun milfona with rocket launchers. After days and days of sailing at random, the boat is shrouded in mist and surrounded by strange-looking algae hardly reassuring. It makes the cost the Indian ship's cook (that Hurry Curry!), Dragged down by the hungry algae, a second before the boat banging against the side of a ship, which turns out to be the same ship from where they left (a discreet knock on the ass when you consider that you are in the Atlantic Ocean and Lake Martignano). The ship is so surrounded by algae, which create a sort of "floor", to be unable to restart. Passengers trying to make the best of a bad situation, trying to resume their habits: the blonde tries in vain to seduce the former drunkard (and former Marple, at this point) that a few days before, has virtually killed the father and the captain milfona the chirping, but then she ends up sleeping with wiry mustache (which in fact was sent by the South American political footsteps of milfona and accepting, without hesitation, payment in kind in exchange for his silence), the captain finds out and there is bad enough. Not only that the mercantile seems to be finished in what is a veritable "graveyard for ships", because, enveloped by algae, loom the silhouettes of countless ships of every era and style, including a number of English galleons.

One night the blonde, tired of the continued rejection of the former drunk, tries to lure, on the deck of the ship, the wiry mustache. Thank God there is some cosmic justice (trumpet both blondes were, in fact, too) before the two can be concluded, fetid greenish waters emerge from the tentacular appendages of a monster covered in algae, which dragged the victim to a fate, one intuits be worse than death. Passengers have not yet recovered from the shock (of the discovery of having missed the last chance of a decent trumpet, in the case of the blonde) who, in the distance, they see a figure advance. This is another blonde, long roof (but some) who walks on water (or rather, seaweed), thanks to an ingenious found: on the back door two yellow balloons tied to the feet and wearing two tiny boats. The tit tells passengers to be a descendant of the English conquistadors, who were trapped in these waters for centuries (what they ate and drank for centuries, no one knows). However, she is not alone, since the ship was attacked almost immediately by some thugs who wander among the algae, balloons hanging from the characteristic (where they found balloons and helium, is another thing that we do not know) . The crew heroically faces the assault and the descendants of Cortez are forced to flee. Returning to the galleon from where they left, they discover that their prince (a child so that stronzino tireresti two slaps, so, just for good measure) is not used to taking very well the failures of others. In fact, driven by the chief inquisitors (a guy with the cap), the child is unlucky to throw the meal to a sea monster, a cross between the tentacled Lovecraftian influences and their twisted bamboo planting of Ikea.

Meanwhile on the ship, decides to flee the tit; you reinsert balloons and inflatable boats and a second after she finds herself walking on sciacquettando algae. Some of the crew running after him (using the balloons of the guys died in the attempt boarding), only to end up in the middle of a battle between two monsters of rubber: a giant crab from the blue eyes and a scorpion. In a frenzy of rubber, our manage to escape the fangs of paper mache monsters, but not in the hands of the English Inquisition. Once in chains aboard the galleon, seems destined to thicken the ranks of those who ended up putting on weight the monster, when, at the climax, the rest of the crew led by captain on the vessel bursts. Lee-Enfield rifles against muskets and halberds and, in a jiffy, England beat Spain 3-0 in a great ease. The prince even stronzino repents (just before the attack, through the words of a sailor who inoculated the doubt in the brain) and understand (in three seconds flat) to have been manipulated for years by the chief inquisitors, to meet his lust for blood. However, it will not go very far, stabbed in the back, just dall'infido inquisitor, just before it throws the bucket (yes, the funeral at the beginning of the film is just what the young prince).

explosive grand finale (which justifies, in part, presence, hitherto useless barattoloni in the hold of the ship), with the galleon that blows up in an uproar of fireworks and the ship which is now free from algae burned in the explosion (the galleons were trapped for centuries when it would be enough to set fire to the algae, it seems), he goes, to where no one knows.

MEISTER STEINER SAYS: 4.5

Chicken With Sweet White Sauce

DELIRIUM POP

HAUSU (Hausu - Japan 1977) by Nobuhiko Obayashi
Hausu (Trailer)

SHEET FILM

A group of high school students (each characterized by a name that reflects its own peculiarities: Melody, Sweet, Kung Fu, etc..) Goes for the summer holidays in the country house (the "Hausu" of the title) of an aunt them. Too bad the dear aunt is actually a kind of demon-vampire, intent on eating these "spice girls" before its time.

" Hausu" (also known as "House"), is a genuine pop psychedelic delirium direct hand lysergic by Nobuhiko Obayashi, 1977. A film so preposterous and vulgar, it looks like a Hong Kong production!

It is, In fact, a comedy horror (a little 'musicals), curious and extremely stupid. Obayashi is fun to include in the film, in a completely crazy and unpredictable, any type of makeup and special effects / visual, so as to affect every single frame with slow motion , stop motion , animated inserts, painted backdrops, etc..

Unfortunately, beyond the pleasant and unique visual experience, the film, although interesting, is nothing but a pure and simple playful experimentation for its own sake, simply marked by an impressive number (and excessive) of virtuosity.

Special mention to the soundtrack (one of the most terrible things I've ever heard) and the cat sputasangue fioccodineve. Among the weird scenes

segnalo: a girl eaten by a piano and a man transformed into a pile of bananas .

MEISTER Steiner says: 5

Average Amount Of Meat From Whitetail

PREY '

KING OF THE ANTS (King of the Ants - USA 2003) by Stuart Gordon
King of the Ants (Trailer)

SHEET FILM

Sean Crawley (Sean McKenna) is a young, without art or part, pulling a living sew for a company that takes care homes to renovate. His life changed when, during one of these restructurings, knows Duke (George Wendt, Norm Peterson on the series "Cheers") who introduces him to his boss, the ambiguous businessman Ray Matthews (Daniel Baldwin). Sean Ray hires to spy on the movements of Eric Gatley (Ron Livingston) an accountant who has just discovered something sinister, in the affairs of the company Ray. For days, the life of Sean spy accountant and his family, uncovering morbidly attracted to him by his wife (the lovely Kari Wuhrer). One night, Ray, drunk, Sean gives $ 13,000 to eliminate Eric. Sean thinking that Eric Ray really wants to die (in fact, Ray has been in the fumes of alcohol), accepts the offer and kills the accountant. Realizing the tragic mistake, he tries to bring Duke, but it is quickly downloaded by those who had commissioned the work. When Sean decides to blackmail Ray, for his reward, the only answer is kidnapped and taken to an old abandoned mansion. There will be tortured per day by men who work for Ray, until ...

Stuart Gordon ("Re-Animator," "From Beyond", "Dagon") leaves, for once, the atmosphere Lovecraftian horror, directing this thriller-noir really very special. The film, dry and direct, is a bitter reflection on the nature of the human being greedy and brutal, dirty and a portrait of the violent greed of man. The same style of Gordon (here truly unrecognizable compared to their traditional work) seems to adapt perfectly to the story, evolving into a form far more direct, aggressive and dirty.
Best, for example, the sequence of the crime (a murder of the most realistic ever seen in a film) and the appalling scenes of torture with a golf club, and the disturbing images that represent the remorse and anguish of the protagonist . McKenna, formerly of the soap opera actor, offers, in this sense, a convincing proof.

Unfortunately, the weak point of the film is represented by a little wobbly to say the script, where certain situations are resolved in a far too hasty (one in all, the intervention of his friend nerd with the van!). From this point of view, even the bombastic finalone (although cathartic) quite out of place compared to what had been the style of the film up to that point.

In conclusion, a film that deserves to be seen, with enough interesting narrative solutions (and other frankly embarrassing), which had all the credentials to become the cult-classic movie.

MEISTER Steiner says: 7

Cheater Korean Movie Online

INTERMEZZO bookish

stroke of a pen of Jim Thompson

the early twentieth century, Nick Corey is the sheriff of Potts County tiny: only 1280 souls (in fact, even less because, as one of the leading states in number are also included and these niggas, you know, have no souls) . Nick Corey seems to have only one purpose in life: to do the job with as little effort as possible, avoiding the calls of his fellow citizens and especially to the reproaches of his wife, a real witch, and her late brother's antics. Nick Corey is a perfect idiot, or at least it is considered by all the people of Pottsville, and by his own family. Just when readers are now convinced we are faced with an idiot harmless, here is the short circuit: Nick Corey is not slow on the uptake, in fact it never was, is simply convinced that to live in peace, his job is to play the role that was assigned. Soon everyone will realize, at its expense, how much Nick Corey is definitely not "harmless".

"clean slate" ("Pop. 1280" in the original) is considered, rightly, Jim Thompson's masterpiece (although, personally, I still prefer "Devils in women ). A major player in dashed a wonderful way, the merger of Lou Ford, the sheriff serial killer "The murderess in me" and William Collins, the former boxer star of "It 's already dark sweetness" and a plot to say the least exciting, in which all the pieces end up onto each other, to perfection.
novel is a frightening, chilling, how often are the novels of Thomas, an author can describe and outline the most hidden and fearful of the human soul, one of the few writers able to "scare" really.
"clean slate", in fact, is a novel by dialogues cruel, against which modern cinema can only be strongly debtor (after reading the one between the protagonist and the old black Uncle John, we can not think of movie dialogue of Tarantino or the Coen brothers, for example).

Tavernier in 1981 (moving the story from Texas to Senegal) directed the film with the same name Noiret star.

What Is Train Groping

Martyrs : The ecstasy of martyrdom

Martyrs (Martyrs - France 2008) Pascal Laugier
Martyrs (Trailer)

SHEET FILM

France, 1971. A little girl, frightened and bleeding, fled in tears from an old abandoned slaughterhouse. After being found in a state of confusion, is carried in an orphanage. The police discovered that the girl was held captive in a room, dark and damp inside the slaughterhouse, for more than one year, subject to violence and torture, physical and psychological. However, little Lucie (Mylène Jampanoï) fails to tell the police nor the identity of their captors, much less the reason why she was kidnapped and subjected to the terrifying experience. The girl has no traces of sexual violence, and was immediately ruled out the track leads to a kidnapping for rape. But then for what reason absurd, Lucie has been segregated in that little room, tied to a chair for about a year?

Lucie s'isola orphanage, both by adults and other children, creating a sort of impenetrable wall for all. For all, except for Anna (Morjana Alaoui), another orphan in a short time, becomes his best friend.

Lucie One night he is visited by a mysterious and terrifying creature.

Fifteen years later, a happy little family consists of father, mother and two teenage children, is committed to the Sunday breakfast in the kitchen of their home country. Suddenly the doorbell rings. The father opens the door and found himself Lucie, armed with rifles. The girl, without showing any mercy, exterminating the entire family in cold blood. Made the massacre, Lucie calls Anna to ask her to reach her, but hooked up the receiver, it is immediately attacked by the same creature that night fifteen years before, had begun to haunt her: a woman horribly disfigured and deformed.

" Martyrs" written and directed by Pascal Laugier (in 2011 released his remake of "Hellraiser") and presented at Cannes in 2008, fits directly into the new wave of horror across the Alps (which did so much a miracle fans of the genre), defined by many as the nouvelle vague horror of the French and which includes such films as "Frontier (s)" by Xavier Gens and "High Voltage" by Alexandre Aja. This is the second film Laugier, after the acclaimed "Saint Ange" the 2004 film that I personally was not a little disappointed.

" Martyrs" is a film which, although characterized those elements exploit, which could be used to bring it to the so-called superficial vein Torture Porn , departs fairly recently decided by this modern horror subgenre. The explicit (and thus porn) process of suffering and violence that leads to death slowly, typical of Torture Porn , is accompanied in Laugier's film, an unusual component, in the absence of ' other words, I might call "modest". Nothing is shown off in a glorified and pleased. Rarely, when watching, one gets the impression that the suffering of the main character is used to urge the voyeurism of the viewer. In "Martyrs", in fact, there is an ultimate goal, a goal, all the torment shown or suggested, as if those offended female bodies, cut and mutilated, were merely the instrument used in a process of "research" and "revelation" that involves torturer and tortured, wearing a crown of light atrocious complicity.

Anna and Lucie, as the title of the film, they are martyrs (and not add anything else, to avoid spoilers). The term "martyr" comes from the greek μαρτύς ( martys ) or μαρτύρ ( martyr ) or witness. In this case martyrs / witnesses to the greatest mystery that awaits us all. The martyrdom as the genuine baptism and cleansing tool and means of revival (view as achieving a new state), through the pain and the annulment of his body. The punishment interpreted as an instrument through which is activated that particular mental state of suspension and elevation of mind, commonly called "ecstasy", shown in its meaning and "cancellation of itself." The deletion of "discursive rationality" and in favor of activation right brain, the "emotional" when the mind astonished, is immersed in a state of bliss, ready to absorb the most awaited revelation. Ecstasy, then, as the culmination of human possibilities. Self-knowledge achieved only through a long process of physical and mental suffering, tax, rejected and finally accepted.

Excellent test Mylène Jampanoï (Lucie) and the beautiful actress Moroccan Morjana Alaoui (Anna), on whose shoulders rests Throughout the second half of the film (that undoubtedly more interesting).

MEISTER STEINER SAYS: 8.5