Reviews (3)

Reluctant Saint 1962
this is a great heart warming and funny movie entertaining
great for all the family

Splendid!
There are many disappointing books and films about Francis and Franciscan spirituality. This film, based on Spoto's biography of Francis, isn't one of them. It offers a wonderful introduction to the Poverello of Assisi, beautiful to the eye and illuminating to the heart and mind. Replete with the usual breathtaking Assisi scenary one finds in films about Francis, this documentary also provides a sensitive interpretation of what Francis was up to, what values he represented, and what kind of lifestyle he lived and, by example, taught. With the aid of interpretive commentary from experts such as Murray Bodo and Bernard McGinn (as well as, rather oddly, from nonexperts such as Mario Cuomo), the film honestly explores Francis's sense of failure towards the end of his life and the extraordinary experience on Mt. Alverna that enabled him to reexamine his life's work and find peace with it. Throughout the film there are several contentious interpretations given as fact--the claim that Francis suffered from leprosy, for example--but overall, a fine and commendable addition to the growing body of work on Francis. Highly recommended!

Funniest Adaptation of a Saint's Life
I got this video together with a bunch of other saint videos, and was preparing myself for something rather pious and poorly produced. Boy, was I wrong! To begin with, this black and white film on the life of the medieval saint Joseph of Cupertino is brilliantly cast. Maximillian Scnell plays the rather stupid Joseph, a perennial klutz who can't keep anything straight in his head without much effort. But he loves God profoundly and desires to become a monk. The second thing that surprised me was how funny this movie was. It's quite episodical, and the humor is of the old more theatrical style - but given those limitations, it set me off laughing more than a few times. Richardo Montebalm also gives a great performance as the uptight monk who can't stand Joseph's stupidity or his extrordinary gifts. God blesses Joseph's love with unusual graces, onces that literally knock him off his feet, to the bewilderment of his priestly brothers.
A real treat. Don't miss it. Hope it goes to DVD! ... Read more

Reviews (37)

Lavish Gothic horror`
This was the first film that Roger Corman made, when he hit upon the idea of adapting the Edgar Allen Poe classics, and it's the best one. Apparently, it was a huge success when first released, and it still retains much of it's power. Vincent Price plays the tormented Roderick Usher, last in the line of a cursed family living in a crumbling mansion. An outsider comes with the intention of marrying his sister, and soon the horrible truth is revealed. Much of the film looks beautiful, colours are deep and lavish, and the set of the house is suitably creepy, with ghoulish portraits of all the hideous Usher ancestors lining the walls. The cast is small, and Price chews his way through his part as ever, with many flowery speeches and gestures, but the film still delivers, especially in the spectacular fiery climax. Obviously, they aren't making them like this any more, and it all looks a bit dated, but as an example of 60's costume horror, it looks great.

classic VINCENT PRICE at its best
Vincent price is the "Lord of Horror" according to me. The Fall of the House of Usher is a classic horror movie that is very enjoyable. A great story, just great.

The story is based on an Edgar Alan Poe story. Roger Corman, the director, was the first to bring Poe poem to the silver screen; and here it is!

The story pulls you into it and you get a real feeling for the characters. The acting is what it is for that time period; enough said. This is a classic horror film! GET IT AND LOVE IT

"I heard her first feeble movements in the coffin..."
Director Roger Corman and AIP had great success relating the tales of Edgar Allan Poe to the screen, and it all started here with The Fall of the House of Usher (1960). While not always exactly faithful to the source material (how many are?), the films sure are fun to watch.

House of Usher stars Vincent Price as Roderick Usher, Myrna Fahey (who once dated Joe DiMaggio and received a death threat because a deranged fan couldn't stand to see DiMaggio with anyone other than Marilyn Monroe) as his sister Madeline Usher, Mark Damon as her fiancé Philip Winthrop, and Harry Ellerbe as Bristol, the butler. Scripted by famed horror/fantasy/sci-fi writer Richard Matheson, who also worked on the later Corman/Poe/AIP films like Pit and the Pendulum (1961), Tales of Terror (1962), and The Raven (1963), The Fall of the House of Usher marked new ground for AIP and Corman. Previously, the studio was content in putting out two black and white films at the same time for minimal cost, Corman convinced the studio heads to take the money to make two of those films and let him use it to make one film in color, and the result, this film, turned out to be a huge box office draw in 1960.

Anyway, the film starts off with Philip riding up to a massive, dark, and as we find out later, crumbly house of Usher. The grounds around the house show no signs of life, but only death and decay. The house actually looks a lot like the creepy house you always see that the beginning of those old Scooby Doo cartoons. Seems he's come to see about his fiancée Madeline, as they had met in Boston where they both lived, and she has since returned home. This is when we meet Roderick Usher, a handsome, yet odd sort of fellow, who we learn has a painfully acute sensitivity of all the senses, preferring the dimmest of light, the blandest of food, the softest of clothing, the mildest of odor, and the quietest of sounds. We also learn, from Roderick, that Madeline is sick, and no one is allowed to see her. Philip, not understanding what's going on, refuses to leave until he can see Madeline, and Roderick finally acquiesces. She seems all right, but later we learn what the sickness is...one, not so much of body, but of a madness supposedly passed down through the Usher lineage. You see, the house and the grounds were once fertile, and full of life, but evil overtook the Usher line, displayed in the many crimes perpetrated by the various ancestors, poisoning the family and the estate, or so says Roderick. The presence of malignance is so oppressive, it's causing the centuries old house to crumble under its' own weight. I personally think it's due to lack of upkeep, but what do I know? Anyway, Philip pushes to take Madeline away from the house, but Roderick is intent on keeping her there until such time as she and he pass, effectively ending the Usher family line. His fear is that she should leave and procreate, extending the evil that has survived so long. The question of evil and its' ability to be passed down is brought up, along with the idea of evil being not so much limited to an abstract idea but a real, almost tangible quality that infects and destroys people and objects. Where does evil live? In the mind? The soul? Can it be transferred? Can a place, with a history of evil acts performed within, actually become so seeped in evil that it becomes evil itself?

Well, soon Madeline suffers a heart attack and passes, due to all the excitement that Philip has brought, so says Roderick. Madeline is put into the family crypt in the basement (that's convenient), but is she really dead? Maybe not...seems there's a history of narcolepsy, a disorder characterized by sudden and uncontrollable, though often brief, attacks of deep sleep, sometimes accompanied by paralysis and hallucinations and would sometimes make the sufferer to appear dead, in the Usher family. Did Madeline suffer from such a malady? If so, then I'd hate to be her when she wakes....

The film moves along nicely, except for maybe the dream sequence. Corman always seemed to like throwing in crazy dream sequences in his Poe productions, and sometimes they helped add to the film, sometimes they sort of ground the proceedings to a halt, in my opinion. Never being really a big fan of the cinematic dream sequence anyway, this one, at least, was short. Price and his costars all do a wonderful job, and I especially liked Fahey near the end. Price seems to envelope the role of Roderick Usher, fitting into character perfectly. If I ever read the actual Poe story, I know I'll always have a picture in my mind of Price as Roderick. What an interesting visage she provides...very scary, even for the hardened horror fan. The music, by the accomplished composer Les Baxter, really complements the visuals in creepy fashion, filling out the overall effect provided by really excellent sets.

The wide screen print here looks really good, but there are occasions where speckling and print damage were noticeable. It's very slight, and did little to lessen my enjoyment of the film. Special features include a theatrical trailer for the film, and a separate commentary track by Corman himself. I have to say, I think this is not only one of the best Corman/Poe films of the eight that were made, but one of Corman's best films period.

Cookieman108

THE FALL OF ACTING COMPARED TO NOW!!!!
The story and plot was great!!! It had great storyline and the actual story was marvelous. There were some bad parts to this movie even so. I think the acting was just ok, partly because it was made over 60 years ago. Some of the special effects and props looked so fake. The best part to this movie was the part when Madeline goes mad and comes out of her coffin. SHe has bloody hands and drips a trail of blood up to her brother's bedroom. I like all teh blood on the doorknob. The music also added to the suspense. All in all it was great!!

TAINTED BLOOD......
The first of Roger Corman's Poe cycle films is probably the most simple. A cast of four and a spooky old house are the characters. The house being a malignant symbol of the evil and depravity lived in it by the Usher family. Roderick Usher (Vincent Price) and his sister Madeline (Myrna Fahey) are the sole surviving members attended to by the long suffering family servant Bristol (Harry Ellerbe). Roderick, pale, clean shaven and with white hair, is hypersensitive to light, sound, touch and taste. He is convinced that he and Madeline suffer the curse of the Ushers---incipient madness. When Madeline's fiance Philip (Mark Damon) comes for her to marry her, Roderick forbids Madeline to leave. He doesn't want their tainted blood to continue. Philip refuses to believe Roderick's morbid stories and refuses to leave without Madeline. But he notices that the house is crumbling, cracking and shaking as if it wants to fall apart---as if the house itself is tired of bearing the curse. Then Madeline suffers a cataleptic stroke and falls into a coma, causing Roderick to declare her dead and bury her in the family crypt. But things are not as they seem and soon Madeline's screams can be heard throughout the house. Then things REALLY hum. "House of Usher" is low budget but Corman does wonders with minimilism. The use of red, normally a vibrant color, is used here to depict morbidity and death. Red candles, red furniture upholstery, Madeline's blood red dinner gown, Roderick's jackets and Madeline's own blood---all vividly captured amid the dark gloom of the house. Price gives another of his patented eccentric performances but who else could deliver lines based on Poe so well? Richard Matheson's script is efficient and literate leaving little room for open ends. Damon and Fahey are well suited as the lovers if a little inexperienced next to Price. And Les Baxter's score is moody and spooky. For 80 minutes, this is a pretty tight little film. Certainly one of the better horror films ever made. If you're a fan of the Price/Corman/Poe films this is the first and a collector's item. ... Read more

Reviews (16)

Robert Mitchum Goes To War Without A Rifle
This war picture stands out from the rest with its unusual characters and odd dialogue. Robert Mitchum has a role almost unkown to World War II films, that of a pacifist war correspondent who views war as a futile excercise in which egotistical Generals lead soldiers to slaughter like a butcher stuffing animals into a meat grinder. Mitchum enjoys deflating Generals by reminding them of how foolish mistakes cost lives and the botched operation at Anzio in Italy becomes one of the biggest blunders of all. One of the best scenes has Mitchum chewing out a Commander via a broken radio. Mitchum sums up his frustration perfectly when he is informed no one can hear him. Peter Falk provides some of the strangest moments such as trying to teach a group of prostitutes to sing, 'Bye Bye Blackbird' and when he gives one an excessive tip he tells her to buy something substantial, "like a lawn mower". More of a curiousity than a great accomplishment this film falls just short of an additional star in the rating. Bottom line, Good entertainment you can watch more than once.

Historically Inaccurate but Entertaining
The Allied landing at Anzio was not unopposed. Allied forces were bogged down in trench fighting for almost three weeks before they could move inland against the Germans. In this film facts get turned around but the basic story is intriguing. A rather stoic Robert Mitchum plays a pacifist battle-hardened war correspondent who must come to grips with his own convictions. Under Edward Dmytryk's direction Mitchum's character seems to have more military smarts than the professionals do, thus making his character a bit of a conundrum. That's what makes this film so interesting. Peter Falk, Earl Holliman and Reni Santoni are good as the stereotypical GIs that Mitchum goes out on patrol and has to fight his way back with. Riz Ortolani created a good suspenseful score and there are some really good action sequences. The good cast, which is a great asset, includes Robert Ryan, Arthur Kennedy, Patrick Magee and Mark Damon.

Anzio - Two Stars
You're in trouble when you begin loathing a movie during the opening credits. A jeep drops off the a dusty uniformed Robert Mitchum and the camera follows him up a flight of stairs and past a couple of security check points, through some large palace rooms. There are gigantic paintings on the wall, the wealth of ancient Italy. We follow him into the first scene of the movie, the opening oh-oh.
A sizable crowd of American GIs, with a few stray prostitutes here and there, are in a huge hall of the palace. One soldier hangs from a monster chandelier, while the other soldiers taunt, hoot and throw oranges and such at him. Apparently he's trying to break a "How long can you stay on the chandelier" record. A herd of "elite Canadian Rangers" enter, shepherded by Corporal Peter Falk, and naturally the veggie throwing thugs attack them. Well, boys will be boys, and I suppose trashing an ancient palace can and should be written off to youthful exuberance.
Meanwhile, disillusioned journalist Robert Mitchum, kind of the anti-Ernie Pyle in this one, drags a long necked bottle of wine and the cynical sergeant Earl Holliman and makes for the balcony for a moment of intense character exposition. It looks like they're in a room with a blue mountain scene painted on the tapestry. I swear I saw Mitchum's shadow on the mountain behind him. Then battered Corporal Peter Falk enters the balcony, and you see by a reverse shot that they're supposed to be outdoors. Maybe it worked better on the big screen.
The movie is about American's invasion of Anzio as seen through the eyes of a pacifist journalist. The landing is unopposed, and Mitchum requisitions a jeep and, along with Falk, discover that the road to Rome, the ultimate destination, is open. Rome can be in Allied hands in a few days, if they move fast enough.
Allied high command decides to dig in instead, which allows the German's the time to create a Caesar Line to oppose advance. Some time later Holliman's battalion, with the un-armed Mitchum along for the story, advances cautiously towards Rome, led by ranger Falk.
It's too late, of course, (damn timid high command), and most of the battalion is killed or captured. A handful of them make it and they escape their valley of death by the clever clearing of a mine field.
Frankly, the script is a mess. There are references made to Salerno, where the invasion was hampered by precipitate action - the fools rushed in when they should have dug in. At Anzio the fools SHOULD have rushed in, but they dug in instead. The fog of war being what it is, my sympathy is with the high command in this movie, but I guess that's beside the point. ANZIO was made we questioned authority as a matter of course, especially military authority.
The best war movies rush forward. ANZIO meanders and makes some odd stops on its way to the battlefield. Take, for instance, the strange scene of Peter Falk teaching the prostitutes to sing "Bye, Bye, Blackbird." It takes way too long, it has nothing to do with the story proper, and it ambiguously establishes his character. It looks like an ad-lib job and should never have been shot in the first place.
A couple of the action scenes that take place behind the enemy line work pretty well, especially when the survivors come across the white dog and later when they encounter a snipers' nest.
I'm a big fan of Robert Mitchum, and I think he's effective as the weary iconoclast. Holliman and the other soldiers are okay in roles that don't demand a whole lot from them. Falk's improvisational style is way out of place here. The movie grinds to a halt every the camera centers on him.
The ending, the liberation of Rome, is tacked on at the end. The real end of the movie is the moment Mitchum discovers the answer to his question, "Why do we fight and kill each other?" The answer is pretty thin and unsatisfying, perfectly in keeping with the rest of the movie.

A decent movie..
Anzio is a decent war movie, filled with exciting battles and a platoon's cat-n-mouse struggle to avoid the enemy long enough to find their way back to their own lines. Robert Mitchum plays a news correspondent who's assigned to cover the invasion of Anzio by a company of U.S. Rangers. When their company is ambushed by the Germans, him and a small handfull of soldiers (Peter Falk and Earl Holliman co-star) escape the trap, but then face having to find their way back to safety through miles of enemy territory. A fairly standard World War II movie based on the actual Anzio battle itself, but more or less using it as a back drop for the fictionalized battle hilighted in the film. There's a totally silly scene with Robert Falk and three local lovelies in the back of an ambulance that should have hit the editing room floor. And Mitchum himself hams it up a bit while denouncing the war in a flag waving manner. But overall Anzio is a fun movie, especially for war movie lovers. Popcorn anyone?

Bad Movie, Bad History
This is probably the worst movie Robert Mitchum ever made. Aside from the usual Hollywood anti-war cliches, it offers a silly plot, a script full of loose ends and improbable doings, and a ridiculously distorted picture (or lack of picture) of the Anzio landings. If Mitchum wasn't ashamed of this movie, he should have been. ... Read more

Reviews (6)

Between Heaven and Hell
This is a very effective psychological war film with a great performance by Broderick Crawford as the demented commander of a group of loose canons located in an isolated jungle outpost during W.W.II. Robert Wagner is ordered to the post for his transgressions and comes to terms with his own lack of humanity. This film contains one of Hugo Friedhofer's best scores. The stereo score on this VHS recording sounds excellent.

AHH THE GUNS!
Robert Wagner is so cool as Prinve Valiant! In this movie he fights for his country and does all he can for his wife too.I would like to see it someday.

Turgid drama, Inept acting, Wrenched plot!
There is not much to recommend this trivial world war II drama. Broderick Crawford, Buddy Ebsen, and Robert Wagner all confirm their tertiary status in the Hollywood pantheon. The plot is inept and incredible, staggering through bunches of flashbacks. The minor miracle (Rich and arrogant southern playboy/landowner comes of age and learns to love the common man) is insufficiently believable. The battle action is sporadic.

HOWEVER, the DVD presentation is fine. Super-saturated colors come through perfectly, and the definition is great! The DVD quality is the sole reason I give the film 2 stars rather than 1.

May I recommend films such as Patton, Tora Tora Tora, or the Longest Day for fine World War II action!

A WWII Coming of Age
This film is about a man whose worldview is limited by his prejudiced, high-class upbringing. The horrors of war will show him the error of his ways and become a better human. The path is indeed a hard one.

The story begins "in medias res" with a demoted sergeant being transferred to a distant post in the Pacific Theatre in WWII. Robert Wagner plays this soldier from the South named Sam Gifford who must now rejoin the rank and file. Under the command of a sadistic captain, Gifford recalls his past as a wealthy landowner and his treatment of his sharecroppers. He then recalls the events of his heroism and demotion. Through all of this, he learns that the people he mistreated back home are just as capable of heroism and that he has been wrong.

Buddy Ebsen, from "The Beverly Hillbillies," plays a part in this film, and I believe he made the movie enjoyable. He wasn't comic relief, but played the stout-hearted sharecropper that truly showed Gifford the error of his ways.

The part of the sadistic captain doesn't seem to fit at first, but watch the whole movie, and his place and his story will make sense.

A fairly good movie, but the flashbacks seem a bit excessive. They are necessary, but still seem a bit much where they are.

Between Heaven and Hell
This is a very effective psychological war film with a great performance by Broderick Crawford as the demented commander of a group of loose canons located in an isolated jungle outpost during W.W.II. Robert Wagner is ordered to the post for his transgressions and comes to terms with his own lack of humanity. This film contains one of Hugo Friedhofer's best scores. The stereo score on this VHS recording sounds excellent. ... Read more

Description

Experience Mario Bava's horror classic "Black Sabbath" (original Italian title: "Three Faces of Fear")--as it's never been seen in America before! A beautiful woman is terrorized by calls from an ex-lover who has escaped prison for the pleasure of killing her... A family becomes a feeding ground when their father returns home wounded after ridding the countryside of a hideous vampire... A nurse is haunted by reproaches from the Beyond after stealing a ring from the finger of a dead medium! Join Boris Karloff as he hosts (and stars in) this trilogy of terror tales--presented in its original aspect ratio and in Italian with English subtitles, with every shock intact! ... Read more

Reviews (48)

ONE OF BAVA'S BEST....
A not to be missed trilogy of horror tales hosted by Boris Karloff and done by Mario Bava. As atmospheric and colorful as you could ask for with the traditional Euro flavor that gives it that off-beat intensity not often found in American films. The stories are diverse: 1.)"The Telephone"--the sexiest with a woman being terrorized by phone calls from a supposedly "dead" lover; 2.)"The Wurdelak"--the most disturbing with a Russian mountain family plagued by an unusual and unforgiving heritage of vampirism starring Karloff himself; and 3.) "The Drop of Water"--the scariest with a turn-of-the-century nurse stealing a ring from an old woman's corpse who happens to be a witch. This is the widescreen European version and is excellently transferred to DVD. The women are beautiful and the thrills are plentiful. A must for any serious horror afficianado.

The Scariest Day of the Week!
One of the best Italian horror films ever made, director Mario Bava's 1963 movie BLACK SABBATH (Italian title: I TRE VOLTI DELLA PAURA) is actually a delicious trilogy of stories, each different in timbre and texture, but each a masterful atmospheric study in unmitigated fear.

In the first short, entitled "The Telephone," a contemporary (circa 1960s) woman is taunted by a series of bizarre and alarming phone calls. But things get really interesting when she learns who it is that's been calling. (Warning: Some viewers may be put off by the lesbian subtext of this story.)

"The Wurdalak," the second entry, is an eerie variation on the vampire legend that is based on the Aleksei Tolstoy novella THE FAMILY OF THE VOURDALAK (SEM'YA VURDALAKA). The action takes place in what appears to be medieval Europe, and the celebrated Boris Karloff (alas, with his dialogue dubbed in Italian) turns in an excellent performance as Gorca, the patriarch of a peasant family. When Gorca returns from assisting in the pursuit and destruction of a Wurdalak--a vampire of sorts that is compelled to feast only upon its own loved ones--his family suspects that he's not quite the man he used to be....

Purportedly an adaptation of story by Chekhov, "A Drop of Water" is the last entry of the trilogy, and it is unquestionably the creepiest. Set in a Victorian manor house, it involves a private nurse who steals a ring from her recently deceased charge and is subsequently haunted by the vengeful corpse. Or is she?

The acting is good, the sets are sufficiently eerie, the stories are well written and creepy, and the women are pretty. But first and foremost, BLACK SABBATH is a superior horror film due to Bava's great vision and direction. He knows what it takes to scare people, and it is his use of stark yet simple imagery, unusual juxtaposition of sounds, and sometimes tenebrous lighting that generates genuine goose bumps and psychological jitters. (Your skin will crawl every time you remember the image of that corpse with the empty, unblinking stare from "A Drop of Water.")

Extant copies of the film are in one of two forms. One presents the film as originally intended (and released in Europe) by the filmmakers. The dialogue is completely dubbed in Italian (with English subtitles available), the stories have not been edited by anyone other than the director and his crew, and the three stories as a whole are vignetted by a Boris Karloff preface and epilogue. However, the other version presents the film after it was vitiated by its U.S. distributor, American International Pictures. In that one, the stories have been edited (one to the point of being unintelligible) and their relative order rearranged, and inappropriately witty intros (featuring Karloff) have been tacked on to each. Also, an English soundtrack has been added, one that was not created with any input from Bava or the original scriptwriters.

Until recently, the AIP re-dubbed re-cut was the only version of the film readily available to American audiences. Though not a totally un-watchable film in AIP's butchered format, it is simply not the masterpiece that Bava's original is. With that in mind, it is recommended that, if at all possible, viewers avoid the AIP version altogether and watch only the original Italian version. And please note, then, that this review refers to that original release--with English subtitles--which IS the version now being offered on the Image Entertainment DVD.

And speaking of the DVD, it is a bit short on true bonus features, and it is possible to see some signs of wear on the print that was used. Still, this widescreen digital transfer looks good overall, with rich and vivid colors and crisp focus. Most importantly, it is fantastic opportunity for American horror fans to finally see--and own!--this excellent scary film in the form in which its creators intended.

Chills aplenty
Italian director Mario Bava (1914-1980) is one of the giants of the horror film genre. Bava's big break into the field came with his 1960 black and white classic "Black Sunday" starring Barbara Steele. This was only the beginning, as Bava churned out a series of gruesome shockers over the next seventeen years; his films always promised great style mixed with scenes of murder and mayhem. Perhaps Mario's biggest contribution to the horror genre was his 1972 picture "Twitch of the Death Nerve," also known as "Bay of Blood." It doesn't take too long to realize "Friday the 13th" shamelessly cribbed from this slasher bloodbath. At least two of the murders in the film appear almost unchanged in the first installment of the Jason Voorhees franchise. That's right-- Mario Bava gave birth to the modern slasher film. But he also dabbled in non-horror films with projects like "Four Times That Night" and the immensely entertaining peplum classic "Hercules in the Haunted World" starring Reg Park as the muscle bound hero. After watching many of his films, I have to express further admiration for this amazing director; he could make an entertaining motion picture no matter what the subject.

"I trevolti della paura," known on these shores as "Black Sabbath," is a great contribution to horror cinema. In 1963, Bava filmed three short stories and packaged them under one title with Boris Karloff introducing each segment. The first tale, "The Telephone," is a claustrophobic tale of horror that takes place in the apartment of Rosy (Michele Mercier). Strange and horrifying phone calls begin streaming into the apartment at the same time Rosy's ex-husband Frank leaves prison. Alarmed that her hubby will try to hurt her, she dials up her pal Mary (Lidia Alfonsi), asking her friend to come over and comfort her. There's an interesting subtext to Mary and Rosy's phone call that the American version apparently cut out of the picture before releasing it that this Image Entertainment DVD restores. Watch to see what it is. Anyway, Mary arrives and, when Rosy falls asleep, writes something down on a piece of paper for her friend to read later. When Rosy wakes up, she learns a few painful truths about both her friend and her ex-husband.

The second story, "The Wurdulak," stars Boris Karloff as Gorca, the patriarch of a well to do Russian family in the eighteenth century. Wurdulaks, what we would call vampires, plague the countryside. Gorca sets out to slay one of them, a fellow named Alibeq, but leaves strict instructions to his family to destroy him, Gorca, if he returns any later than the stroke of midnight five days hence. Gorca reasons that he will be a vampire himself if he has not returned by that time, and his family agrees. Predictably, Gorca returns late and acts very, VERY weird. The family knows something is wrong but agonizes about doing what they know they must do. Their hesitancy has unfortunate results for several members of the family. This story is the best one on the disc; check out the scene where Karloff thunders around on a horse. Very creepy!

The final tale of woe, called "The Drop of Water," finds Nurse Helen Corey (Jacqueline Pierreux) receiving a weird phone call late at night. It seems an old medium died and her servant is too scared to move the body. Corey agrees to help the superstitious assistant but makes the mistake of stealing a valuable ring off the corpse. What follows is classic chills and thrills as a fly follows Corey around wherever she goes, continually alighting on the ring on her finger. The nurse tries to hide in her house where the sound of dripping water drives her to the point of insanity. Again, no reason to spoil the film for you, but wait until you see what happens to Nurse Corey as the tale winds to a close. Note to self: never steal anything from a deceased psychic.

All I can say here is that Mario Bava has done it again. While I still think "Black Sunday" is a better film, "Black Sabbath" nicely delivers the shocks. Getting Karloff to do double duty as the narrator and the star of one of the segments was a nice touch, too. Including this great actor in the project gives "Black Sabbath" a sort of homage feel, a nod to the earlier horror movies of the 1930s and 1940s. It's no mistake that Karloff's segment is the best one of the three. The weakest is "The Telephone," although even this tale works quite well in the suspense department. In "The Wurdulak," you know what's going to happen, but not so in "The Telephone." Plus, Michele Mercier is extremely easy on the eyes. I couldn't help but think of the seminal "Black Christmas" and "When a Stranger Calls" after watching "The Telephone." I wonder if Bob Clark and Fred Walton took Bava's creation as the inspiration for their own, later films. As for "The Drop of Water," well, it's a scary film that doubtless inspired its own imitators years later.

Horror fans would be remiss to pass up this delightful collection. They're not gory in any way, just as "Black Sunday" wasn't gory, but they are nicely done pieces well worth watching. A big thanks goes out to Image Entertainment for releasing the film in its original format. I am slowly working my way through all of Mario Bava's film, and "Black Sabbath" was a huge step towards completing my journey. After watching the movie, check out the production notes assembled by Bava historian Tim Lucas, the trailer, and the Bava biography. If you like horror, you will definitely want to give this one a few hours of your time.

Are You Serious?
With out a doubt, the best horror film ever made. Bava's Black Sabbath, is without question the most complete horror experience ever filmed. With atmosphere like I've never seen, this trilogy starts off with a classic giallo, and progresses to sheer terror by the last installment. Words alone cannot describe "The Drop of Water", a dark, eerie, and ultimately terrifying experince. If the face of death does not make you cringe, nothing will ever affect you! Do yourself a favor and buy this film(the Italian version), shut the lights off and let the terror begin.

classic horror; though tame by today's standard.
This trilogy of terror stars and is narrated by the late Boris Karloff. It would be tame by today's standards; some younger people might say "lame", but this was pre-"Jason" (Friday the 13th), pre-"Freddy" (Nightmare On Elm Street) and relied more on "suspense" than gore. Interesting for those who like "suspense". ... Read more

Reviews (3)

Reluctant Saint 1962
this is a great heart warming and funny movie entertaining
great for all the family

Splendid!
There are many disappointing books and films about Francis and Franciscan spirituality. This film, based on Spoto's biography of Francis, isn't one of them. It offers a wonderful introduction to the Poverello of Assisi, beautiful to the eye and illuminating to the heart and mind. Replete with the usual breathtaking Assisi scenary one finds in films about Francis, this documentary also provides a sensitive interpretation of what Francis was up to, what values he represented, and what kind of lifestyle he lived and, by example, taught. With the aid of interpretive commentary from experts such as Murray Bodo and Bernard McGinn (as well as, rather oddly, from nonexperts such as Mario Cuomo), the film honestly explores Francis's sense of failure towards the end of his life and the extraordinary experience on Mt. Alverna that enabled him to reexamine his life's work and find peace with it. Throughout the film there are several contentious interpretations given as fact--the claim that Francis suffered from leprosy, for example--but overall, a fine and commendable addition to the growing body of work on Francis. Highly recommended!

Funniest Adaptation of a Saint's Life
I got this video together with a bunch of other saint videos, and was preparing myself for something rather pious and poorly produced. Boy, was I wrong! To begin with, this black and white film on the life of the medieval saint Joseph of Cupertino is brilliantly cast. Maximillian Scnell plays the rather stupid Joseph, a perennial klutz who can't keep anything straight in his head without much effort. But he loves God profoundly and desires to become a monk. The second thing that surprised me was how funny this movie was. It's quite episodical, and the humor is of the old more theatrical style - but given those limitations, it set me off laughing more than a few times. Richardo Montebalm also gives a great performance as the uptight monk who can't stand Joseph's stupidity or his extrordinary gifts. God blesses Joseph's love with unusual graces, onces that literally knock him off his feet, to the bewilderment of his priestly brothers.
A real treat. Don't miss it. Hope it goes to DVD! ... Read more

Reviews (1)

Well Done, Low Budget "Beauty and the Beast".
Edward L. Cahn has become a forgotten man among low budget filmmakers. Not as gifted as Edgar G. Ulmer nor stunningly incompetent like Ed Wood Jr or as prolific as William Beaudine, Cahn was nevertheless responsible for many of the more memorable moments which occured in 50's B movies. To the first generation raised on television IT! THE TERROR FROM BEYOND SPACE and INVISIBLE INVADERS were classics of their kind which inspired other more celebrated films (ALIEN and NIGHT OF THE LIVING DEAD) Cahn earned the nickname "Fast Eddie" in Hollywood because of his ability to shoot his pictures quickly and efficiently (he made 110 films over a 30 year period). He first came to prominence at MGM directing the last several OUR GANG shorts in the late 1930's. He then worked for several independent outfits who released through Columbia, American International, and United Artists where he finished his career. BEAUTY AND THE BEAST was his swan song and his only film in color which is too bad because one of its highlights is the imaginative use of lighting to enhance the color photography. The Beast make-up was done by Jack P. Pierce who did the legendary Universal monsters which is why it resembles Lon Chaney Jr's WOLF MAN. Mark Damon (FALL OF THE HOUSE OF USHER) and Joyce Taylor make a lovely couple as the title characters while veteran villians Walter Burke and Michael Pate help to add spice to the proceedings. There are also several shots which, as was characteristic of Cahn, manage to stick with you once the movie is over though you really don't know why. While definitely not the best version of BEAUTY AND THE BEAST (the Jean Cocteau 1946 film will always reign supreme while Disney's will remain the best known), this one is not without merit. My kids and I enjoyed this movie and so will you. "Fast Eddie" was one of those rare directors who could get the very most out of the very least. The ability to make a silk purse out of a sow's ear is a talent that deserves to be remembered. ... Read more

Reviews (1)

A Plea For Help!
I am a Radley Metzger fan, and as such I am interested in this film. But I can find no info on it, and desperately want to hear some feedback on it first, as I am a starving student. I don't want to buy the tape if it is trash, a bad transfer, cut to blazes, etc

Thanks in advance! ... Read more

Reviews (11)

A real Lynchian kind of Movie, absolutely Flawless acting!
(by the way, just in case your not sure, Lynchian means like something David Lynch would Direct.) I have heard many people bag this movie, saying it doesn't make sence and it's too hard to follow. So I was glad to see these other reveiwers who felt as i did about this very unique movie. Tim Roth does his Best acting since Reservoir dogs in this rivorting thriller. I won't say anything about plot because its all to hard to put in words, but i will say this. Anyone who likes it, see the film "LOST HIGHWAY".

Pate bros 2nd joint rolled with creeper
The cool thing about watching movies constantly is that you see so many bad ones that occasionally a movie as slick as this plays out. The cast is top notch, as is the directing by the Pate brothers, whose other credits include "The Grave" and the short lived but cool TV show "GvsE". Plenty of twists and turns abound in this movie that centers around Roth(in one of his best performances) taking a lie ditector test from two shady cops(Rooker and Penn) to find out if he is a murderer. A film that relies on character development and suprises that pays off in the end with something to think about, this is a good one. It would be nice to see on DVD but is not yet released on that format.

A Schizophrenic Thriller About Epileptic Behaviour
Deciever aka Liar is caught in a real Catch22. On the one hand it wants to play mind games, to prove how opaque our first impressions really are. On the other it wants to be a drama about the moral impotence and bottled up rage of men. We don't know enough about the cop Braxton(Chris Penn) or his partner Kennisaw(Michael Rooker) to care about either their gambling or marital problems resprectively.

The opacity ofcourse is deliberate. If you want twists and turns then you must have mysterious characters doing inexplicable things. Well there goes the drama. The lack of character development allows the film-makers to do complete 180s with the plot, but any resulting suspense is academic with none of the viceral impact of say Se7en.

Credibility is a vital element when it comes to thrillers. Even when they're set in space we have to believe that the film-makers know as much as we do, that they are on the same ride as we are. But in Liar the Pate brother cheat, they give us flashbacks that are meant specifically for the audience. I believe they did this to avoid the supposed monotony of the one room setting, but the flashbacks all but destroy the film. If they can see beyond the characters' lies, it means that Liar is nothing more then manipulative mental masterbation where they provide the audience with red herrings to a solution they already know. As a frame of reference lets use Roman Polanski's underrated 1994 film Death & The Maiden. That film was set in a single location and used no flashbacks, but its characters were so well written and acted that it generated more genuine suspense in a single scene then Liar does in its entire running time. Another film, 1995's masterful The Usual Suspects justified the use of flashbacks by having a character tell a story and then let the director realise his story visually.

Did I even mention the film's laughable tendancy to treat Epilepsy as if it were the demon possessing Linda Blair in The Exorcist.

Its a shame really because the film is technically remarkable(lots of shadows, darkness and gold light). It also waists the brilliant Tim Roth, who as the rich, bitter, manipulative and epileptic suspect James Walter Wayland gives a preverse and powerful performance. Had the film been as clear eyed and sharp as Roth's performance we might have really had something here. Considering that Liar is ultimately about manipulation, it might be cleverly ironic that its authors would lie to and manipulate the audience. It would be cleverly ironic if weren't so incredibly frustrating.

Psychological pornography masked as "who-done-it?"
DECEIVER is an apt name for this movie. It has pretensions to a twisted detective procedural; pursuit of a warped-genius murderer (a la Hannibal Lector);and perhaps a demonic-vengeance thriller like "Angel Heart" or "The Fallen". It is merely twisted. The film, in fact, is a deliberate exercise in psychological pornography. Its principal character is portrayed as a sado-masochist who revels in acts of cruelty who effortlessly descends into a self-induced state of oblivion untrammeled by conscience or guilt. Tim Roth plays this demonic creature with subdued insolence and relish as he practices his solipsistic acts of malice on his bewildered high-society parents, high-priced call girls and the detectives attempting to indict him for a brutal murder. The film is a trip to Hell without the fascination such "pilgrimages" sometimes afford. The movie's emotional exploitation is never particularly clever, nor jolting and the manipulative machinations of Roth ( especially The Lie Detector sequences) are manifestly transparent and require little intelligence to dismiss them as trite and self-indulgent. If it were not for the "accomplished" acting of the principals in this movie its quality as a piece of unredeemable dreck would be instantly self-evident. Sometimes a viewer simply has to admit he has been "had". DECEIVER is the title of this noxious movie. The viewer is, in my estimate, THE DECEIVED...

Simply great.
Unlike most fils which tend to show/explain everything, this movie was like a really good book -- it made you think. It was a wonderfully dense story -- (i.e. even the scenes that seemed without purpose had purpose and meaning). A lovely parallel, interesting foreshadowing and an ending that, unlike the professional reviewers contend, was logical. ... Read more

Reviews (4)

I Thought The Phrase 'Living Dead' Applied To Zombies
Unless you happen to be under the age of ten, this movie is not creepy, scary or any other adjective to describe a movie that is classified as horror. As a movie under the classic genre--by classic I mean the ones that came out before Hollywood decided that horror movies needed blood, guts and gore for a horror movie to be successful. You know the kind that came out in the 1920's to 1930's, were black and white, possibly silent, that kind of thing.
'Crypt Of The Living Dead' was released at the end of this ungorified era. Expecting a movie that was black and white, according to the online synopsis, I was somewhat surprised to find that I was watching a colour movie. The surprise was short lived when I figured out that the "old vampire movie" I was watching came out in the early 1970's.

Anyway, this explorer/scientist is looking around on the island when he happens upon the tomb of Hannah, the bride of King Louis the VII, a king during the time of the Crusades. According to local legend, Louis VII fell in love with Hannah. Not realising that his beloved fiance was a vampire, he (Louis) arranged for a ship to carry her and several of his knights to the Holy Land for the wedding.
The explorer is reading this information on a plaque when a 'priest' comes up behind him and strangles him. He then gestures to a wild-looking man and together they shove the dead guy under the tomb, up to his chin. The priest and the wild man then destroy the legs that are holding up the tomb, which happens to be solid marble. This all happens in the span of the first 10-15 minutes of the movie.

Ok, fast forward probably about a month. The dead guy's son comes to the island to say good bye to his father. He meets this guy Peter and his sister Mary.
A romance between Mary and the son of the dead guy, his name happens to be Chris, soon develops. No surprises there. Any way Chris decides to unseal the tomb so he can move it to retrieve his father's body. Remember, the tomb is solid marble. Hannah comes back to life, kills a couple of people and a blind guy's dog. She kills the dog while in the form of a wolf so she can regain her strength, we find out that Peter was the 'Priest' who killed Chris's father, Chris winds up staking Hannah, after she is reduced to a skeleton by a torch, Peter winds up being staked by one of the islanders, and Hannah winds up not being dead after all, she had put a little girl into a trance earlier in the movie and she apparently turned vampire, only she wasn't a young vampire, she was the 700 year old Hannah in the form of a little girl.

Careful - this is Young Hanna: Queen of the Vampires
See reviews for Hanna: Queen of the Vampires. According to IMDB.com, it's the same movie.

Not Great, But Not Bad Either...
I must confess that I enjoyed many of these films as guilty pleasures in the 60's, 70's and 80's when going to the movies was a much different experiance than it is today. I saw this as HANNAH, QUEEN OF THE VAMPIRES on a double bill with SIMON, KING OF THE WITCHES, both starring Andrew Prine and I believe both filmed back to back and in some of the same locations. Neither film is a classic, but neither film is all bad either. There is a nice use of location photography here and some fairly good suspense. The story is good, if the performances leave something to be desired. For fans of 70's schlock who have only been able to see this film in badly worn prints on video, the DVD will be a revelation. A good pick for Halloween party viewing or for curling up on a dark stormy night.

Hannah - Woman of Few Words
Hannah does not move more than her eyelids for the first hour. After an hour, she gets out of her coffin and walks around a bit - at times opening her mouth slightly, but never speaking (not one word in the whole movie).

The last 10 minutes were okay, but that is only relative to everything up to that point.

If this is a movie you saw/liked as a kid, it might be worth a view (thus, 2 stars). Otherwise, best to avoid this as it is boring and doesn't have even any b-movie draw. ... Read more

Reviews (6)

Between Heaven and Hell
This is a very effective psychological war film with a great performance by Broderick Crawford as the demented commander of a group of loose canons located in an isolated jungle outpost during W.W.II. Robert Wagner is ordered to the post for his transgressions and comes to terms with his own lack of humanity. This film contains one of Hugo Friedhofer's best scores. The stereo score on this VHS recording sounds excellent.

AHH THE GUNS!
Robert Wagner is so cool as Prinve Valiant! In this movie he fights for his country and does all he can for his wife too.I would like to see it someday.

Turgid drama, Inept acting, Wrenched plot!
There is not much to recommend this trivial world war II drama. Broderick Crawford, Buddy Ebsen, and Robert Wagner all confirm their tertiary status in the Hollywood pantheon. The plot is inept and incredible, staggering through bunches of flashbacks. The minor miracle (Rich and arrogant southern playboy/landowner comes of age and learns to love the common man) is insufficiently believable. The battle action is sporadic.

HOWEVER, the DVD presentation is fine. Super-saturated colors come through perfectly, and the definition is great! The DVD quality is the sole reason I give the film 2 stars rather than 1.

May I recommend films such as Patton, Tora Tora Tora, or the Longest Day for fine World War II action!

A WWII Coming of Age
This film is about a man whose worldview is limited by his prejudiced, high-class upbringing. The horrors of war will show him the error of his ways and become a better human. The path is indeed a hard one.

The story begins "in medias res" with a demoted sergeant being transferred to a distant post in the Pacific Theatre in WWII. Robert Wagner plays this soldier from the South named Sam Gifford who must now rejoin the rank and file. Under the command of a sadistic captain, Gifford recalls his past as a wealthy landowner and his treatment of his sharecroppers. He then recalls the events of his heroism and demotion. Through all of this, he learns that the people he mistreated back home are just as capable of heroism and that he has been wrong.

Buddy Ebsen, from "The Beverly Hillbillies," plays a part in this film, and I believe he made the movie enjoyable. He wasn't comic relief, but played the stout-hearted sharecropper that truly showed Gifford the error of his ways.

The part of the sadistic captain doesn't seem to fit at first, but watch the whole movie, and his place and his story will make sense.

A fairly good movie, but the flashbacks seem a bit excessive. They are necessary, but still seem a bit much where they are.

Between Heaven and Hell
This is a very effective psychological war film with a great performance by Broderick Crawford as the demented commander of a group of loose canons located in an isolated jungle outpost during W.W.II. Robert Wagner is ordered to the post for his transgressions and comes to terms with his own lack of humanity. This film contains one of Hugo Friedhofer's best scores. The stereo score on this VHS recording sounds excellent. ... Read more

Reviews (48)

ONE OF BAVA'S BEST....
A not to be missed trilogy of horror tales hosted by Boris Karloff and done by Mario Bava. As atmospheric and colorful as you could ask for with the traditional Euro flavor that gives it that off-beat intensity not often found in American films. The stories are diverse: 1.)"The Telephone"--the sexiest with a woman being terrorized by phone calls from a supposedly "dead" lover; 2.)"The Wurdelak"--the most disturbing with a Russian mountain family plagued by an unusual and unforgiving heritage of vampirism starring Karloff himself; and 3.) "The Drop of Water"--the scariest with a turn-of-the-century nurse stealing a ring from an old woman's corpse who happens to be a witch. This is the widescreen European version and is excellently transferred to DVD. The women are beautiful and the thrills are plentiful. A must for any serious horror afficianado.

The Scariest Day of the Week!
One of the best Italian horror films ever made, director Mario Bava's 1963 movie BLACK SABBATH (Italian title: I TRE VOLTI DELLA PAURA) is actually a delicious trilogy of stories, each different in timbre and texture, but each a masterful atmospheric study in unmitigated fear.

In the first short, entitled "The Telephone," a contemporary (circa 1960s) woman is taunted by a series of bizarre and alarming phone calls. But things get really interesting when she learns who it is that's been calling. (Warning: Some viewers may be put off by the lesbian subtext of this story.)

"The Wurdalak," the second entry, is an eerie variation on the vampire legend that is based on the Aleksei Tolstoy novella THE FAMILY OF THE VOURDALAK (SEM'YA VURDALAKA). The action takes place in what appears to be medieval Europe, and the celebrated Boris Karloff (alas, with his dialogue dubbed in Italian) turns in an excellent performance as Gorca, the patriarch of a peasant family. When Gorca returns from assisting in the pursuit and destruction of a Wurdalak--a vampire of sorts that is compelled to feast only upon its own loved ones--his family suspects that he's not quite the man he used to be....

Purportedly an adaptation of story by Chekhov, "A Drop of Water" is the last entry of the trilogy, and it is unquestionably the creepiest. Set in a Victorian manor house, it involves a private nurse who steals a ring from her recently deceased charge and is subsequently haunted by the vengeful corpse. Or is she?

The acting is good, the sets are sufficiently eerie, the stories are well written and creepy, and the women are pretty. But first and foremost, BLACK SABBATH is a superior horror film due to Bava's great vision and direction. He knows what it takes to scare people, and it is his use of stark yet simple imagery, unusual juxtaposition of sounds, and sometimes tenebrous lighting that generates genuine goose bumps and psychological jitters. (Your skin will crawl every time you remember the image of that corpse with the empty, unblinking stare from "A Drop of Water.")

Extant copies of the film are in one of two forms. One presents the film as originally intended (and released in Europe) by the filmmakers. The dialogue is completely dubbed in Italian (with English subtitles available), the stories have not been edited by anyone other than the director and his crew, and the three stories as a whole are vignetted by a Boris Karloff preface and epilogue. However, the other version presents the film after it was vitiated by its U.S. distributor, American International Pictures. In that one, the stories have been edited (one to the point of being unintelligible) and their relative order rearranged, and inappropriately witty intros (featuring Karloff) have been tacked on to each. Also, an English soundtrack has been added, one that was not created with any input from Bava or the original scriptwriters.

Until recently, the AIP re-dubbed re-cut was the only version of the film readily available to American audiences. Though not a totally un-watchable film in AIP's butchered format, it is simply not the masterpiece that Bava's original is. With that in mind, it is recommended that, if at all possible, viewers avoid the AIP version altogether and watch only the original Italian version. And please note, then, that this review refers to that original release--with English subtitles--which IS the version now being offered on the Image Entertainment DVD.

And speaking of the DVD, it is a bit short on true bonus features, and it is possible to see some signs of wear on the print that was used. Still, this widescreen digital transfer looks good overall, with rich and vivid colors and crisp focus. Most importantly, it is fantastic opportunity for American horror fans to finally see--and own!--this excellent scary film in the form in which its creators intended.

Chills aplenty
Italian director Mario Bava (1914-1980) is one of the giants of the horror film genre. Bava's big break into the field came with his 1960 black and white classic "Black Sunday" starring Barbara Steele. This was only the beginning, as Bava churned out a series of gruesome shockers over the next seventeen years; his films always promised great style mixed with scenes of murder and mayhem. Perhaps Mario's biggest contribution to the horror genre was his 1972 picture "Twitch of the Death Nerve," also known as "Bay of Blood." It doesn't take too long to realize "Friday the 13th" shamelessly cribbed from this slasher bloodbath. At least two of the murders in the film appear almost unchanged in the first installment of the Jason Voorhees franchise. That's right-- Mario Bava gave birth to the modern slasher film. But he also dabbled in non-horror films with projects like "Four Times That Night" and the immensely entertaining peplum classic "Hercules in the Haunted World" starring Reg Park as the muscle bound hero. After watching many of his films, I have to express further admiration for this amazing director; he could make an entertaining motion picture no matter what the subject.

"I trevolti della paura," known on these shores as "Black Sabbath," is a great contribution to horror cinema. In 1963, Bava filmed three short stories and packaged them under one title with Boris Karloff introducing each segment. The first tale, "The Telephone," is a claustrophobic tale of horror that takes place in the apartment of Rosy (Michele Mercier). Strange and horrifying phone calls begin streaming into the apartment at the same time Rosy's ex-husband Frank leaves prison. Alarmed that her hubby will try to hurt her, she dials up her pal Mary (Lidia Alfonsi), asking her friend to come over and comfort her. There's an interesting subtext to Mary and Rosy's phone call that the American version apparently cut out of the picture before releasing it that this Image Entertainment DVD restores. Watch to see what it is. Anyway, Mary arrives and, when Rosy falls asleep, writes something down on a piece of paper for her friend to read later. When Rosy wakes up, she learns a few painful truths about both her friend and her ex-husband.

The second story, "The Wurdulak," stars Boris Karloff as Gorca, the patriarch of a well to do Russian family in the eighteenth century. Wurdulaks, what we would call vampires, plague the countryside. Gorca sets out to slay one of them, a fellow named Alibeq, but leaves strict instructions to his family to destroy him, Gorca, if he returns any later than the stroke of midnight five days hence. Gorca reasons that he will be a vampire himself if he has not returned by that time, and his family agrees. Predictably, Gorca returns late and acts very, VERY weird. The family knows something is wrong but agonizes about doing what they know they must do. Their hesitancy has unfortunate results for several members of the family. This story is the best one on the disc; check out the scene where Karloff thunders around on a horse. Very creepy!

The final tale of woe, called "The Drop of Water," finds Nurse Helen Corey (Jacqueline Pierreux) receiving a weird phone call late at night. It seems an old medium died and her servant is too scared to move the body. Corey agrees to help the superstitious assistant but makes the mistake of stealing a valuable ring off the corpse. What follows is classic chills and thrills as a fly follows Corey around wherever she goes, continually alighting on the ring on her finger. The nurse tries to hide in her house where the sound of dripping water drives her to the point of insanity. Again, no reason to spoil the film for you, but wait until you see what happens to Nurse Corey as the tale winds to a close. Note to self: never steal anything from a deceased psychic.

All I can say here is that Mario Bava has done it again. While I still think "Black Sunday" is a better film, "Black Sabbath" nicely delivers the shocks. Getting Karloff to do double duty as the narrator and the star of one of the segments was a nice touch, too. Including this great actor in the project gives "Black Sabbath" a sort of homage feel, a nod to the earlier horror movies of the 1930s and 1940s. It's no mistake that Karloff's segment is the best one of the three. The weakest is "The Telephone," although even this tale works quite well in the suspense department. In "The Wurdulak," you know what's going to happen, but not so in "The Telephone." Plus, Michele Mercier is extremely easy on the eyes. I couldn't help but think of the seminal "Black Christmas" and "When a Stranger Calls" after watching "The Telephone." I wonder if Bob Clark and Fred Walton took Bava's creation as the inspiration for their own, later films. As for "The Drop of Water," well, it's a scary film that doubtless inspired its own imitators years later.

Horror fans would be remiss to pass up this delightful collection. They're not gory in any way, just as "Black Sunday" wasn't gory, but they are nicely done pieces well worth watching. A big thanks goes out to Image Entertainment for releasing the film in its original format. I am slowly working my way through all of Mario Bava's film, and "Black Sabbath" was a huge step towards completing my journey. After watching the movie, check out the production notes assembled by Bava historian Tim Lucas, the trailer, and the Bava biography. If you like horror, you will definitely want to give this one a few hours of your time.

Are You Serious?
With out a doubt, the best horror film ever made. Bava's Black Sabbath, is without question the most complete horror experience ever filmed. With atmosphere like I've never seen, this trilogy starts off with a classic giallo, and progresses to sheer terror by the last installment. Words alone cannot describe "The Drop of Water", a dark, eerie, and ultimately terrifying experince. If the face of death does not make you cringe, nothing will ever affect you! Do yourself a favor and buy this film(the Italian version), shut the lights off and let the terror begin.

classic horror; though tame by today's standard.
This trilogy of terror stars and is narrated by the late Boris Karloff. It would be tame by today's standards; some younger people might say "lame", but this was pre-"Jason" (Friday the 13th), pre-"Freddy" (Nightmare On Elm Street) and relied more on "suspense" than gore. Interesting for those who like "suspense". ... Read more

Amazon.com

A wealthy heir (Tim Roth) is hauled in for interrogation by two seasoned detectives. Hooked up to a polygraph, the superintelligent murder suspect plays cat and mouse with the two cops (Michael Rooker, Chris Penn). As events unfold, the cops themselves have a thing or two to hide, and the suspect has an alibi of sorts: temporal-lobe epilepsy and alcoholism with a special fondness for absinthe. The rich boy uses his knowledge of the cops' personal skeletons to gain the upper hand over them. This is a film that has an abundance of stylish fillips and modern-day noir touches, but also has a convoluted, confusing plot and a set of unlikable characters. Roth probably has the best turn as the filthy-rich narcissist who alternates between being slimy and sympathetic. Michael Rooker, on the other hand, tensely chews the scenery as the cop with the nastiest secret. All in all, Deceiver tries to be a good movie but is undercut by poor character development, bewildering loose ends, a flat script, and a "what the hell was that?" ending. However, if you can overlook the plot shortcomings, this is a slick mystery in a purely cinematic sense, filled with head-spinning camera work, expressionistic shot compositions and lighting, and jumpy editing. --Jerry Renshaw ... Read more

Reviews (11)

A real Lynchian kind of Movie, absolutely Flawless acting!
(by the way, just in case your not sure, Lynchian means like something David Lynch would Direct.) I have heard many people bag this movie, saying it doesn't make sence and it's too hard to follow. So I was glad to see these other reveiwers who felt as i did about this very unique movie. Tim Roth does his Best acting since Reservoir dogs in this rivorting thriller. I won't say anything about plot because its all to hard to put in words, but i will say this. Anyone who likes it, see the film "LOST HIGHWAY".

Pate bros 2nd joint rolled with creeper
The cool thing about watching movies constantly is that you see so many bad ones that occasionally a movie as slick as this plays out. The cast is top notch, as is the directing by the Pate brothers, whose other credits include "The Grave" and the short lived but cool TV show "GvsE". Plenty of twists and turns abound in this movie that centers around Roth(in one of his best performances) taking a lie ditector test from two shady cops(Rooker and Penn) to find out if he is a murderer. A film that relies on character development and suprises that pays off in the end with something to think about, this is a good one. It would be nice to see on DVD but is not yet released on that format.

A Schizophrenic Thriller About Epileptic Behaviour
Deciever aka Liar is caught in a real Catch22. On the one hand it wants to play mind games, to prove how opaque our first impressions really are. On the other it wants to be a drama about the moral impotence and bottled up rage of men. We don't know enough about the cop Braxton(Chris Penn) or his partner Kennisaw(Michael Rooker) to care about either their gambling or marital problems resprectively.

The opacity ofcourse is deliberate. If you want twists and turns then you must have mysterious characters doing inexplicable things. Well there goes the drama. The lack of character development allows the film-makers to do complete 180s with the plot, but any resulting suspense is academic with none of the viceral impact of say Se7en.

Credibility is a vital element when it comes to thrillers. Even when they're set in space we have to believe that the film-makers know as much as we do, that they are on the same ride as we are. But in Liar the Pate brother cheat, they give us flashbacks that are meant specifically for the audience. I believe they did this to avoid the supposed monotony of the one room setting, but the flashbacks all but destroy the film. If they can see beyond the characters' lies, it means that Liar is nothing more then manipulative mental masterbation where they provide the audience with red herrings to a solution they already know. As a frame of reference lets use Roman Polanski's underrated 1994 film Death & The Maiden. That film was set in a single location and used no flashbacks, but its characters were so well written and acted that it generated more genuine suspense in a single scene then Liar does in its entire running time. Another film, 1995's masterful The Usual Suspects justified the use of flashbacks by having a character tell a story and then let the director realise his story visually.

Did I even mention the film's laughable tendancy to treat Epilepsy as if it were the demon possessing Linda Blair in The Exorcist.

Its a shame really because the film is technically remarkable(lots of shadows, darkness and gold light). It also waists the brilliant Tim Roth, who as the rich, bitter, manipulative and epileptic suspect James Walter Wayland gives a preverse and powerful performance. Had the film been as clear eyed and sharp as Roth's performance we might have really had something here. Considering that Liar is ultimately about manipulation, it might be cleverly ironic that its authors would lie to and manipulate the audience. It would be cleverly ironic if weren't so incredibly frustrating.

Psychological pornography masked as "who-done-it?"
DECEIVER is an apt name for this movie. It has pretensions to a twisted detective procedural; pursuit of a warped-genius murderer (a la Hannibal Lector);and perhaps a demonic-vengeance thriller like "Angel Heart" or "The Fallen". It is merely twisted. The film, in fact, is a deliberate exercise in psychological pornography. Its principal character is portrayed as a sado-masochist who revels in acts of cruelty who effortlessly descends into a self-induced state of oblivion untrammeled by conscience or guilt. Tim Roth plays this demonic creature with subdued insolence and relish as he practices his solipsistic acts of malice on his bewildered high-society parents, high-priced call girls and the detectives attempting to indict him for a brutal murder. The film is a trip to Hell without the fascination such "pilgrimages" sometimes afford. The movie's emotional exploitation is never particularly clever, nor jolting and the manipulative machinations of Roth ( especially The Lie Detector sequences) are manifestly transparent and require little intelligence to dismiss them as trite and self-indulgent. If it were not for the "accomplished" acting of the principals in this movie its quality as a piece of unredeemable dreck would be instantly self-evident. Sometimes a viewer simply has to admit he has been "had". DECEIVER is the title of this noxious movie. The viewer is, in my estimate, THE DECEIVED...

Simply great.
Unlike most fils which tend to show/explain everything, this movie was like a really good book -- it made you think. It was a wonderfully dense story -- (i.e. even the scenes that seemed without purpose had purpose and meaning). A lovely parallel, interesting foreshadowing and an ending that, unlike the professional reviewers contend, was logical. ... Read more

Reviews (9)

great movie
The series including this prequel are pretty darn good. Overhyped yes but it's hilarious and it's got some moving moments. The actual series is better than the prequel tho. One great word of advice. You shouldn't be paying more than $10 for it though regaurdless of how great it is cuz then the seller is ripping you off.

476467467
Does anyone know if this movie has eglish subtitles or not

Emotionally moving ...
I'm not much for overhyped movies, and usually that downgrades my viewing experience because I expect a movie to be far greater than it actually is.

This movie, however, delivers.

The premise is not extremely catchy, but the movie itself is fantastic. The movie and its related series by the same name follow the adventures of Chan Ho Nam as he matures as a man. The movies presents in amazing clarity the sacrifices Chan Ho Nam makes and all his losses as he becomes a gangster. From his ejection from school, to his rejection by the girl he likes, to the family stryfe he suffers, he realizes that he has no choice but to follow Brother Bee, who tells him that his is the path of hell; to choose the life is not a decision that can be turned back on. As we follow Chan Ho Nam, we see his fear, joy, laughter, sadness, anger, rage, pain, longing, and we begin to feel these too. The way the movie truly draws a viewer in is astounding, and I for one have never cared so much for "evil" characters. Like "Goodfellas" or "The Talented Mr. Ripley," the
protagonist in this film is in a certain moral ditch, yet viewers will still sympatize with him as if he were any Mr. Joe Samaritan.

A somewhat subtle feature that attracted me to this film is the focus on very Chinese values, such as honor, courage, respect, superstition, and family. The movie touches upon each of these ideas in a non-extroverted manner, unlike many of the martial arts films most Americans are used to. I particularly enjoyed the portrayal of many different types of characters; nobody is a particular shade of black or white, everyone is in a bit of the grey zone. Chan Ho Nam's mother, for example, is a very loving character, and we can see that Chan Ho Nam loves her very much. But as a conflicted youth, we see him make decisions that hurt her, and we are made to reflect on our own past decisions that may hurt others.

Why does this movie not deserve a 5? I HAVE to say this about the series: the constant reuse of popular actors/actresses is VERY obnoxious. Shu Qi plays multiple parts in the series; they're big parts too. Brother Bee plays different parts as well, among some of the other repeated actors/actresses. My guess is the studios contracted the actors first before writing the scripts, which is indeed a shame for many consistency freaks. Also, as for THIS movie in particular, even though the movie is set in 1989, there are certain details which are anachronistic. Fortunately, these details do not detract from the overall value of this wonderful film.

Gwo Wook Ji...the prequel
In the first Young and Dangerous movie, the boys are introduced in a fight on a soccer field, where they get harassed by Ugly Kwan, and helped by Brother Bee ,who the young Ho Nam swears to follow. Then ten years later, the story begins, and the boys are triad members. Now with Young and Dangerous -- the Prequel, we are taken back to that same soccer field, and see a re-enactment of that opening scene, this time with fresh, young actors playing the same roles, and the story continues from there. This is the very beginning of the story of the Hung Hing boys
We get to see young HoNam getting his krazy dragon tattoo, and Chicken nailing his first prostitute.....

This movie outdo some of the original series like the y&d 2 and stuff, Nicholas Tse and Sam Lee were amazing and Hsu Chi was a nice touch....

Young and Dangerous : The Prequel
Anything with a HOTTIE like Nicholas Tse is worth watching =) ... Read more