I have the Italian dvd of Lets Scare Jessica to Death, bought it this time last year and can vouch for it.

Very moody and atmospheric.

It's £4.22 + £1.26 postage. Can you really ignore that Crimson.

https://www.amazon.co.uk/gp/offer-li...8690093&sr=1-1

http://www.youtube.com/watch?v=WPhCcc6EWVo

Well that's was a lot better than I was expecting ,Cage is very restrained ,compared to some of his "performances" you would think he was in a coma.

The films is very atmospheric and basic story is Cage son disappears on Halloween , a year later strange things begin to happen leading Cage to believe his son is still alive. One i will watch around again this time next year. 8.5/10

It's become a fave round these parts as well. Watched it two October's running.

The Mummy's Ghost

A decent entry. Not great but certainly good and the second best entry in the franchise so far. He's alive after the events from before but they don't really explain it. He's just alive . The continuity is always a bit off in these films they do the same with Frankenstein

It re-hashes a lot of what we've already seen: this is the third priest in a row that falls in love with a girl that Kharis kidnaps. We also hear about the events of the Mummy's Hand again. But this is a huge improvement from before. This time instead of seeing overlong flashbacks: it gets explained quickly. And with the priest

The characters are better than the last one. Tom is a good hero and Amina Mansori / Ananka is a good character. Also shout-out to Tom's dog: He's a cute little guy that doesn't back down from Kharis. Without him, they wouldn't have been able to find him and the priest at the hideout.

We get the fluid that preserves Kharis again but its used better here. Other people besides the priest use it which obviously means they are unintentionally drawing Kharis to them, with bad results. It makes a change from the priest ordering him to kill people or an assistant planting the fluid somewhere for Kharis to find.

The usual staples are there. Again its the angry villagers and Lon Chaney is present. But the ending is different here: no fire is involved thank god. Instead

A good entry. 6/10.

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[#01] The House That Screamed
Narciso Ibanez Serrador’s La Residencia, more luridly titled for its English language release as The House That Screamed, is a slow burn, intricately building atmosphere, rather than plot, like so many Spanish horror films of the period. Often cited as a ‘major influence’ to Dario Argento’s Suspiria, The House That Screamed is set in an isolated boarding school, dominated by the malevolent presence of Headmistress Fourneau, played with chilling aloofness by Lilli Palmer. The power struggle between Headmistress Fourneau and Head girl Irene is captivating, and more fascinating than the revelations in the final act. Mary Maude brings a gracefulness to Irene, yet still manages to feel almost demonic. Even when the credits roll it feels as if The House That Screamed hasn’t quite revealed all of its secrets, glimpses of deviant behaviour from Headmistress Fourneau are never expanded upon, left to fester in the viewer’s imagination.

:rip::rip::rip::rip:

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[#02] Suspiria
One character, very early on in Dario Argento’s Suspiria, delivers a line that succinctly quantifies even attempting to review it:

From arresting visuals, the print almost feels as if it’s been soaked in ink, vibrant block colours permeate scenes, to Goblin’s soundtrack, equally as assaulting sonically, giving an ominous indication of the events about to unfurl with the hissing delivery of the line ‘witch’. Almost every character protagonist Suzy Bannion encounters feels hostile, from the cruel Miss Tanner, forcing a delirious dance sequence to the disobliging Taxi driver. Jessica Harper gives Suzy Bannion a wide-eyed innocence, the setting an oppressively atmospheric dance school, with an underlying malefic, indomitable will. Joan Bennett imbues Madame Blanc with a timeless and ageless sophistication, which makes her tirade against Suzy Bannion in the latter act all the more shocking. It doesn’t overly concern itself with the mythology of witches, or devil worship; it grounds the supernatural in the modern world as deftly as George Romero’s Night Of The Living Dead did with zombies. There’s never a lull, it’s one eye-bleedingly vivid breathtaking sequence after another. Forty years later, Suspiria’s influence is still felt, an impending remake from Luca Guadagnino looms, but never has a film quite managed to recapture one of the most distinct and original experiences committed to celluloid.

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[#03] Simon, King Of The Witches
Bruce Kessler’s Simon, King Of The Witches is part of a wave of subversive ‘70s horror that centres itself around a cross-section of society whose way of life is in stark contrast to what is considered the norm. Simon lives in a sewer drain, talks to a tree at one point, yet is played with such sincerity by Andrew Prine in the face of absurdity after absurdity. The ritual at the hands of a white witch played by Ultra Violet, in a role apparently written for her, is an overly fleshy, broom-snapping farce, hilarious in its tongue in cheek devilry, complete with a goat presiding over the whole affair, because goats are always amazing. There’s an undeniable homoerotic subtext, Simon, unable to charge his magic rod with a woman, but seems to have little trouble with a man. The relationship Simon forms with a hustler he encounters in jail provides heart, at first it almost seems as if Simon is grooming him, but later his protectiveness feels fatherly. Simon’s hypnotic transcendence through the mirror features a breathtaking hallucinogenic sequence, which is worth seeking the film out for alone. Bruce Kessler has an interesting filmography, sadly little of it seems easy to source.

:rip::rip::rip::rip:

Wow did this topic blow up. Nice to see everyone getting in the spirit. It feels so much busier than previous years.

Great work, Baka. Nice to see you back on top form. :pop2:

The Vampire Lovers.

Set in Styria in Austria, Mircalla(Ingrid pitt) is one of the last remaining from the Karnstein family. and manages to get herself invited into the homes of the aristocracy to feast on their daughters.
firstly she stays at General Speildorfs(Peter cushing) home under the alias Marcilla, and before you know it his daughter Laura is suffering from anemia and dreaming of a huge cat biting her.:lol: and when after she dies, Mircalla swings a invite to George cole's gaff under the name of Carmilla and starts on his naive and innocent daughter Emma(Madeline smith).

This is a interesting film that began a new direction for Hammer when it was made in 1970, with a much bolder output featuring sex and nudity. and actress Ingrid pitt dosent hold back at all displaying all her natural charms and getting down to a bit of the old lady loving. ;)

THe only thing i don't like about the film is that the great Peter cushing dosent have a major role in the film and is off screen most of the time. But apart from that it is a top notch Hammer film with the usual gothic feel, with spooky castles and graveyards and ladies in and out of their night gowns. :happy:

actress Kate omara also co stars too as a governess who falls under Ingrid pitt's charms, who wouldnt? and soon loses her night gown as well. :laugh:

good film indeed.and i have to say that I like this film a lot and is the first Hammer film I ever saw back in 1981. and I remember recording it on my first ever Vhs tape with dracula Ad.
so this classic Hammer gets 89.5 out of 100.

Nice review, Paul. :clap:

The Mummy's Curse 1944

I'm not sure what is gonna happen in Abbott and Costello Meet The Mummy (I've never seen any of their work) but I hope its a bit different.

I like the format of these films: at its best we have The Mummy's Hand. But its 3 sequels later and I hope we get something different next time. I liked Curse, certainly more than Tomb, but its getting stale. Now we have another priest: you guesed correctly, trying to bring back Kharis to Egypt.

Why can't we go back to Egypt or another isolated setting like in Hand? with the howling in the distance and sense of being trapped in the middle of nowhere: That was a key part of why that film worked. I can see it now: forget a priest brewing the fluid. How about 5 young people, most of whom are sceptical of the curse, break into the tomb and boil some of the sacred leaves. Again they don't think its actually gonna bring him back but why not? If they're drunk it'd be a fun thing youths like that would do, I would have, especially if its October. Kharis comes back and starts killing them. Put some humour in there, some action scenes, make sure absolutely no priests are present and boom: you have another good Mummy movie that takes an old idea and does something new with it, ditching the repetitive priests in favour of well written new characters.

Its getting old now: the franchise needs a new shot of life. Again, I get that he's hard to kill but the ending... .


I hope Abbott and Costello is fun.

Their films with the Universal monsters weren't to my taste at all.

I bought a box set, watched them once then got rid. Of course with comedy it's all subjective. Others on here find them funny, just not me.

It's been interesting reading your thoughts on those Mummy films. Certainly they are repetitive but i'm sure when they were made the producers had no idea people some 70 years later would be able to view them one after the other ,rather than a year apart, in the comfort of their own home.