J*A*S*M

This Fulci Giallo wasn’t very good. In old films like this, hallucinations and other deformations of reality annoy me a lot… But I will sure remember the church scene, that one is great.

I was so looking forward to this trash, and nothing… European directors are wasted on the topic of American war trauma. 5/10

The best, or the second best Sergio Martino film that I’ve seen so far (I can’t decide between this one and Carnal Violence). You can never figure out whether this is your usual Giallo-style detective movie, psychological horror or even something supernatural, which keeps an intense hold on your attention. On top of that, it’s very well shot, fairly well acted, with beautiful visuals and several doses of proper tension.

If in Italy things are like in Italian films (this one in particular), God save them! Another good not-so-Giallo from Martino. A well developed story, good execution, naked girls and a brilliant ending. A little weaker than Torso, but still good enough for four stars.

When I heard a spoiler some time ago about the acrobatics the creators had performed on the story of my favourite horror film, I began to feel quite scared. Unnecessarily so. Firstly, that information cannot be considered a spoiler (that the zombies aren’t zombies is revealed in the first few minutes). Secondly, the twist doesn’t feel at all forced, the events develop smoothly and the script as a whole feels well put together and purposeful, to the point that I’d be willing to believe the creators were counting on this sequel, even before making the first part. The last fifteen minutes of the first part made me feel deeply scared, which didn’t happen in the sequel (the adrenaline ride label is very accurate), but it still won me over thanks to its pace, the bloodiness, the more interesting plot (and its supernatural moments in particular) and the ending, which moves the story in a completely different direction. Looking back at it (initial fears notwithstanding), I’m glad that the creators weren’t afraid to change the subgenre of the sequel. We already had perfect zombie horror, now we have perfect action (censored) horror. In short, I enjoyed returning to that house in Barcelona and I’m looking forward to seeing it again.

The last time I felt this much enthusiasm from perfect filmmaking in a new film was with Inglorious Basterds. From the moment they arrive on the island, it was clear that this would be an exceptional film, tailor-made for me – sometimes you just know it from the very first scene. Scorsese builds the atmosphere masterfully (shots on details, striking music, visual tricks of various crap flying around), I couldn’t find a single weak spot; Shutter Island is 130 minutes of concentrated depression, mystery and madness. Regarding the complaints of certain viewers about the lack of originality, or rather, the predictable twist, it’s worth mentioning that what they believe is a twist, it’s not so, it’s just the resolution to a classic misleading plot (in that sense, the film can only have two outcomes, and you don’t have to be a genius to “figure out” the right one) that only serves to lay down the ground for the real twist, which is very inconspicuous, original, and clever. Putting all this together, Shutter Island is for me more interesting than all of Marty’s famous gangster films.

Thanks to Martino I developed a taste for Giallo. Thanks for this one, too! 85%.

For an amateur exploitation flick, Sick Girl is a solid piece of work deserving an above average rating (though the actress playing the main role is awful), but some scenes cross the boundary of what I want, or I’m willing, to see in film (even within the subgenre). Only for niche fans, really…

A decent slasher, interchangeable with any other camp slasher (that’s why I don’t like this subgenre very much), with the great advantage that the killer is a massive disfigured bloke with an axe and all the action takes place at night in the woods, so the atmosphere is very good. On the other hand, the plot and the characters are so incredibly stupid and that it’s almost hard to believe what you’re seeing. Fortunately, today hardly any creator would dare make this kind of bollocks. As a tour to yesteryear, however, it’s fine, so three stars.

A beautiful historical film set in late antiquity Alexandria, featuring my beloved Rachel Weisz. The quality was a very pleasant surprise and the courage to show certain things full-on was also a shock. The world is still full of lunatics and if I were the godless Amenábar, I’d watch out very carefully for any stone flying in my direction.