A crumbling ruin. A mist-shrouded forest. A lone samurai making his way home late at night meets a seemingly defenseless young woman. So begins the horror of Kaneto Shindô’s tale of ghosts, vengeance, and the wrongs visited upon women by entitled men.
Asia-pol, with all the smart suits and colorful mini-dresses, not to mention death by exploding golf ball, offers just enough to keep you around as you see the sights with Jo Shishido, Ruriko Asaoka, and pouting teenager Jimmy Wang Yu sitting in the back seat.
It’s night, when the city is at its best. To the brassy, aggressive strains of a jazz anthem composed by Elmer Bernstein, our point of view drifts through the glorious, desperate chaos of New York at night. Men in suits, women in cocktail dresses, stumbling into and out of nightclubs, into and out of cabs. Those who want to be seen, those who want to see. Movers, shakers, power players, hustlers, hyenas.
Kriminal was one of many Italian comic book anti-heroes that rose to fame in the 1960s, inspiring a host of imitators all wearing, for whatever reason, skeleton bodystockings. But only one Kriminal cash-in made it to the big screen alongside the Italian original: Turkey’s Kilink.
To call a film “explosive” which stars Edwige Fenech is one thing. To call a film “explosive” which stars Rosalba Neri is another. To call a film “explosive” which opens with Neri flinging dynamite around with all the glee and gesticulating of a silent film actor is a bad pun. To call a film “explosive” which stars both Fenech and Neri and features the aforementioned opening is the come-on of the century.
Steve McQueen stars as a San Francisco cop assigned to protect a witness against the Mob. Before the film winds to its thrilling conclusion on the tarmac of San Francisco International, viewers will marvel at McQueen’s casual cool and one of the best car chases in cinema.
Golden Buddha is tremendous fun and a real treat for fans of 1960s spy films despite there being no actual spies in the film. It’s still got plenty of intrigue and sneaking about, and the production is sumptuous. Fans of zany 1960s art direction will be in heaven.
While the Golden Bat is a lesser known Japanese super hero compared to the likes of Ultraman or Kamen Rider, he is no less a venerable one. The creation of one Takeo Nagamatsu, his origin dates back to the early thirties.
Watching King Kong was like witnessing the moment of impact between all of those things that provide me with some of my most profound movie-watching pleasures. Had I known I could be watching films that combined wrestling, men in togas throwing boulders, giant monsters, and Kumkum dancing frenetically to catchy Bollywood music, I probably never would have seen Mother India.
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.
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.
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.
Towering above all others in the realm of Bond cash-in albums, however, was British composer Roland Shaw, who released a series of James Bond cash-in records that featured arrangements of Bond themes and background music that were often just as good as the originals, and in some cases, perhaps even better.
Deadly Sweet was inspired by Blow Up, but it lacks that film’s disillusionment. Tinto Brass thinks Swinging London is still swinging. Thus he turns in a decidedly less somber film despite a somewhat downbeat conclusion.
In a sense, Antonioni has made a movie about the movie he is making, and his final conclusion, if it is indeed a conclusion, is a bit sad. Thomas chases the meaning of the photographs he has taken, but he never gets there. In the end, everything he has done vanishes.
Adam Diment created Philip McAlpine, a reluctant, shaggy-haired, dope-smoking spy in the latest Carnaby Street fashions. Like his creation, Diment was young, handsome, popular with the ladies, and knew how to dress. And then, just like that, he vanished.