Orders from Another World: The Poliziotteschi of Fernando Di Leo, Part Three
In my series on Italian director Fernando Di Leo, I began part one by examining his early career...
Read Moreby Samm Deighan | Apr 3, 2017 | 0
In my series on Italian director Fernando Di Leo, I began part one by examining his early career...
Read Moreby Samm Deighan | Mar 27, 2017 | 0
“The whole city is full of madmen. It’s like a carnival shooting range.” —Umberto Lenzi’s Almost...
Read Moreby Jerome Reuter | Mar 16, 2017 | 1
Salò, o le 120 giornate di Sodoma (Salò, or The 120 days Of Sodom, 1975) is necessarily associated...
Read Moreby Samm Deighan | Mar 16, 2017 | 0
I began this three-part Fernando Di Leo series a few weeks ago with a look at two of the first...
Read Moreby Nat Brehmer | Mar 4, 2017 | 2
Lucio Fulci’s The Beyond (L’aldilà, 1981) is a masterpiece. It was not always recognized as...
Read Moreby Alex Morris | Feb 8, 2017 | 0
Within horror film discourse and in film theory more generally, it is accepted by some that one of...
Read Moreby Alex Morris | Jan 28, 2017 | 0
In a scene from Mario Bava’s seminal 1964 film Blood and Black Lace (Sei donne per...
Read Moreby Samm Deighan | Jan 27, 2017 | 0
One of the most compelling plot devices of film noir involves an opening sequence that establishes...
Read Moreby Samm Deighan | Jan 16, 2017 | 0
“I found myself lying down in the apartment of my dead mother… [I] remembered that two years...
Read Moreby Samm Deighan | Jan 7, 2017 | 0
Italian director Fernando Di Leo (1932-2003) began his career in cinema as a scriptwriter of...
Read Moreby Samm Deighan | Jan 4, 2017 | 0
For my money, Michele Soavi is the greatest Italian horror director of the late ’80s and...
Read Moreby Samm Deighan | Dec 31, 2016 | 0
“You seduced me, God, and I let myself be seduced.” —Teorema One of Italy’s most important...
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