Jewel Robbery

Now that’s the life — where, during a mild bit of cat burglary, you sneak into a lavish hotel room via the window and find Kay Francis in a low-cut evening dress, relaxing languidly across the foot of the bed, waiting for you with a glass of champagne in her hand.

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The Sister of Ursula

The Sister of Ursula is like watching a Jess Franco film without that director’s flare. Contemplate that one on the Tree of Woe. Sex scenes, the Italian coast, outlandish murders — everything about The Sister of Ursula seems to operate under the directive of “Well, this should be good, but we’re going to mess it up.”

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Dark Purpose

Had Dark Purpose been an hour long episode of a TV show, it would have delivered. But forced to come up with, roughly, three half-hour acts, it can’t sustain the momentum and Shirley Jones, while perfectly acceptable, just isn’t dynamic enough to make us forget nothing much is going on.

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Gumnaam

Gumnaam isn’t shy about the sort of films that have influenced it. Adopting the sort of jet set internationality of the 1960s, it becomes an amalgamation of old dark house mysteries and pop-art modernism filtered through the lens of Arabesque, Mario Bava, and Charade.

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Deep End

Deep End is a film about the awkwardness of transition and the disillusionment that inevitably follows a time of idealism. It was released in 1970, when the dying days of the Summer of Love were giving way to the cynicism of the 1970s; when people swept up in the promise of revolution finally had to face the reality of promises not kept.

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