Author: jbg

WOLF MAN (2025)

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Directed By: Leigh Whannell

Written By: Leigh Whannell and Corbett Tuck 

Cinematography: Stefan Duscio and Ruairi O’Brien

Editor: Andy Canny

Cast: Christopher Abbott, Julia Garner, Matilda Firth, Sam Jaeger, Benedict Hardie, Ben Prendergast

A family at a remote farmhouse is attacked by an unseen animal, but as the night stretches on, the father begins to transform into something unrecognizable.

Pay atention to the title, because that’s pretty much what this movie seems to be about as it has its own reminiscence of the fly as we watch the lead character slowly transform into this Wolfman.

There are so many ways of looking at this movie. It has the Liriano kind of cold direction, but impressive style at times that at least is some thing you don’t expect.

Though this is more a traumatic thriller, so if you’re looking for a horror film, you’re gonna find yourself sadly disappointed as it does have those types of scenes, but for the most part seems to be more about this man’s slow transformation, and trying to protect his family, and then also slowly morphing into the problem himself

The film at times feels like it should be more hard-hitting, but there just seems to be something missing or just plays off bland. It also obviously is trying to push the female character to be more of the heroic force because she’s trying to be a nurture and at first it seems like she’s more a journalist, but when it comes to survival, she does what she hast to do to protect her daughter, her family even if she hast to face off against the man, she loves her husband.

His transformation can also be seen as him try, actually having to face his trauma from his rough childhood with what seems to be an uncaring father that he has obviously Buried, but still has that anger while trying to be the good guy, decent husband, and good father he doesn’t want his family to have to deal with the same types of things that he did.

So eventually, unfortunately, it becomes like an incredible hulk situation, where he can’t help this other side of him coming out or really transforming him totally. 

As what the film does have going forward, is if the few scenes of style and prosthetic special effects. While the film does have violence, it’s also a secluded thriller where there aren’t that many victims so not so much useless bloodshed almost like Cujoh more of trying to survive the night and the ordeal, which also makes it feel a little bit more like most of the film takes place in real time

The Hulk analogy also works for this phone because it seems like it’s very hard for Hollywood to truly come up with a good or great werewolf movie and they’re either barely passable usually just OK or just bad or disappointing, whereas every other famous creature seems to have more than a few defining films to the repertoire.

The film isn’t bad it just is that you go in, expecting one thing and coming out with another and even the other that it is is pretty plain and bland, feeling more melodramatic with supernatural horror and thriller elements.

Which is a shame, because with the invisible Man, leave, Wagner came up with a film that felt inventive, but then again, he also had more room to work with as THE INVISIBLE MAN, while a memorable character isn’t as popular isn’t ball down by as many rules and lower, so you can kind of create an ad more than you can with well established, vampire, zombies, or where wolves

At least I can say that the film is Earnest in it’s

depictions of werewolves as it tries to create, but it seems like it’s problem was It wants

to dip itself a little in the fantasy, but also be somewhat grounded in reality-based as well as offering some scientific explanations, and while they work well enough off of each other, they don’t create a satisfying formula completely.

No, maybe the focus was too much on the transformation giving it a sort of THE FLY comparisons only not as focused on the Body Horror

Grade: C

THE WILD ROBOT (2024)

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Written & Directed By: Chris Sanders

Based on the book by: Peter Brown

Cinematography: Chris Stover 

Editor: Mary Blee

Featuring the voices of: Lupita Nyong’o, Pedro Pascal, Kit Connor, Stephanie Hsu, Bill Nighy, Matt Berry, Ving Rhames, Catherine O’Hara 

After a shipwreck, an intelligent robot called Roz is stranded on an uninhabited island. To survive the harsh environment, Roz bonds with the island’s animals and cares for an orphaned baby goose.

This film shows what can be done by a true independent individual spirit and not doing what you have been trained or necessarily program to do, but interestingly also teaches you that by doing that you might learn not only to be your own person, but humanity and itself as well as to help those around community or culture you might find yourself and that is different from yourself how to assimilate into that culture and find your own friends and family but also if you have to, you can simulate into what you’re supposed to be but still at heartbeat who you need to be and who you are

I can truly say I wasn’t expecting much from this film and figured it would be. You know a typical moralistic tail and it seems like it’s going to be that way, but then it takes so many broad strokes or subverts what you’re used to and a different way that you can’t help but get emotional watching it and especially around the third act, or truly showcases the bond between parent and child and appreciation and the length of love between them where your downright willing to sacrifice yourself for them and vice versa how they sometimes have to take care of you when you’ve given it all you got

That is when the film is at its strongest and most powerful. It’s cute and previous scenes, and can be funny and ferocious. It’s perfect for kids and families like because I believe whoever sees this film will get something out of that,  that is strong and meaningful to them. 

I don’t watch those animated films sometimes, other than the artwork. It feels like more of the same, but I can truly say that this one affected me more than I expected to and it’s truly something special. I can see why it has so many fans, such that seem to come from nowhere.

Grade: A- 

BEAVIS & BUTTHEAD DO THE UNIVERSE (2022)

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Directed by: Albert Calleros, Geoffrey Johnson and John Rice 

Written By: Mike Judge, Lew Morton, Ian Maxtone-Graham, Guy Maxtone-Graham and Ruben Martinez 

Story By: Mike Judge, Ian Maxtone-Graham and Guy Maxtone-Graham

Editor: Robert James Ashe, Phil Davis and Mike Mendez 

Cast: (Voices) Mike Judge, Gary Cole, Andrea Savage, Nat Faxon, Chi McBride, Carlos Alazraqui, Toby Huss, Tig Notaro, Jimmy O. Yang, Brian Huskey, Stephen Root

After a “creative” judge sentences them to space camp, a black hole sends our adolescent heroes 24 years into the modern future where the duo misuse iPhones, embark on a quest to score, and become targets of the Deep State.

I wasn’t expecting this film to be such a disappointment, but then again, look at the material.

Growing up, I was like most teenagers. I was a fan of the show Beavis and Butthead and I even thought they’re movie Beavis and Butthead to America who is actually hilarious and strangely the film does still stand up.

This is a welcome return of the characters and their universe of sorts ends up being so disappointing because it feels exactly what it is a sequel and it’s a sequel and every true meaning of the word it’s bigger where we’re talking a story about Space exploration time, travel and different dimensions in worlds it feels very unnecessary

It’s still funny and has some great brilliant moments here and there, but I can’t tell if I grew out of the humor or if the material just isn’t that strong but even at barely 90 minutes it feels too long and it doesn’t feel firm at all and it has a coherent story still feels like there’s a lot of things thrown at the wall to see what will stick

Don’t give me wrong, it’s not bad or horrible. It’s just disappointing considering the miracle that was the first film. No one expected it to be as funny or actually, as good as it was here. This is the movie. I think most people expected the first time around, only you get your hopes up for a sequel that you hope will be at least equal to the first one, and here is where you get the disappointment.

If you’re a fan of Die Hard, you will be happy with the film, if you’re new to this phenomenon, or the characters, this might not be the place to start, and you will find the film maybe more OK. Then again, it might be that we have grown out of that demographic and it still seems to be aiming for that same teenage demographic, even after all these years.

Grade: C

HAVOC (2025)

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Written & Directed By Gareth Evans

Cinematography: Matt Flannery 

Editor: Sara Jones and Matt Platts-Mills 

Cast: Tom Hardy, Jessie Mei Li, Forest Whitaker, Timothy Olyphant, Luis Guzman, Quelin Sepulveda, Justin Cornwell, Sunny Pang, Yeo Yann Yann, Michelle Waterson

After a drug deal gone wrong, a bruised detective must fight his way through the criminal underworld to rescue a politician’s estranged son, unraveling a deep web of corruption and conspiracy that ensnares his entire city.

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Gareth Evans is truly an Auteur and filmmaker whose work you’re excited to see especially when he has a new project. As unfortunately it seems like it took way too long for this film to come out as it was completed in 2021 and the postproduction took four years to make the film and in certain things you can notice where the reshoot have been done.

No, he is so strong a filmmaker that a new film from him is usually worth the wait. As many tried to copy his style, but none do it quite as well, or as over the top and make it just seem fluid.

Like a modern-day John Woo, so many people try and attempt to copy his style even though as soon as you watch it it’s so distinct if you’ve seen any of his films before you recognize it immediately and it’s always more Hand to hand  in close quarters, with a weapon thrown in time to time and doesn’t shy away from any of the violence, choreography, individuals, or perfectly together Almost to Tango Or a modernfied dance . I was on creation just modify.

If this is what it takes now, we have to wait all this time for films like this it’s more than worth it because each time out of the gate if somethings so regional visual exciting it’s an experience that it feels like most modern action films have a bit of it at times and sometimes come close, but never can quite figure out the formula it’s like having a meal after dealing with so much fast food and restaurants and if each time

out of the gate, produces something that memorable than you, my friend are a master of your class 

while this film certainly won’t win any Oscars, except for maybe in the future for stunt coordination. This movie is an action fans, wet, dream, and fans of cinema. it is something so visually Exciting with a perfectly cast Tom Hardy at the center of y’all

Gareth and Timo Tjhajanto (NIGHT COMES

FOR US) are really the ones at the head of the class For action filmmaking. The difference is that Timo makes more Low budget foreign action films but they come Out more often and at a brisker Pace 

Usually Cold-hearted, so That no one is truly safe. Which does add an excitement to the film, but also a certain sadness.

Not only is it brutal action, but So much overkill

No, I’m not gonna lie and say that this film is perfect. There are plenty of flaws for all the Hand to hand combat. There is plenty of gun use and it seems like every weapon somehow becomes a machine gun even at first pistols so that feels a little ridiculous at times and of course no one seems to ever really need to reload unless the plot calls for it and to make that character victim or use their weapons to defend themselves while trying to reload the weapon and the story Makes sense as much as it needs to, but it is not necessarily the best well plotted.

Even one of the villains played by Timothy Olyphant you just wonder why an actor of his quality is even in the film as of course he’s a representation of evil and crooked cop. Thou and most of the action scenes even as he survives he doesn’t really seem to do much damage or be that dangerous you know obviously he’s a random selves and protect himself, but he doesn’t seem like a scary enough villain to be that powerful or one we have to worry about.

Just as it would be nice to see much more of the Asian gangsters a little bit more maybe a little bit more drama or showing how bad ass their leader is instead of just limiting her to really one scene of showing how dangerous she can be and that’s it really, other then being a leader of a threatening force.

while I truly enjoyed the film, I will admit that it’s probably more of the action that I am a fan of when it comes to this film as if you go into the film and just don’t think too hard about it I think it’s a very enjoyable film, but if you break it down and pay attention to certain aspects of it, that’s where you might have little problems that all combined to kind of put a dent in the hole and never at least for Supv it’s still one of the better films, especially action films that Netflix has produced Or released.

Even Tom Hardy again gives a great performance. He’s doing better with his American accents as this film He doesn’t sound as dopey or stupid as he can whenever he hast to do an American accent here. It at least sounds a little more tough and normal.

No filmed in Wales. The film takes place in a nondescript. What is supposed to be? I’m guessing American city and at times it almost feels like a made up city from a film Wonderland. I love the crow or maybe even dark city it’s not a very important part, but it would’ve been nice if it could’ve been a little bit well defined by its location as it’s not the most important thing, but it does help the film re-ground in a little bit more.

The log cabin scene towards the end will be remembered for years as an action highlight for many.

The film is worth checking out and giving a chance.  it’s going to Divide audiences but it will definitely have a crowd of fans for it. It definitely  should be released and seen on the big screen.

Grade: B

LOVE IN THE AFTERNOON (1972)

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Written & Directed by: Eric Rohmer 

Cinematography: Nestor Almendros

Editor: Cecile DeCugis

Cast: Bernard Verley, Zouzou, Francoise Verley, Daniel Ceccaldi, Malvina Penne, Babette Ferrier

The last of Rohmer’s Six Moral Tales. Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

Though I knew most of the story beats, the film actually still lives up to the hype and still feels like a revelation as it is one of Eric Rohmer’s six Moral tales and I’ve only seen one previously. This definitely fits alongside it and is memorable.

Chris Rock’s version Is more gag-filled. You could see where there could be room for a bit more humor while trying to take a realistic look at a man in midlife crisis, not in a bad marriage but in a marriage where he’s standing bored and here comes temptation. Both versions are focused on a single narrative where things happen to shape the films and have a full cast. Though what allows the films to prosper is that no certain story ever rears its head, allowing the film to seem more random 

Zazou is perfectly cast as she appeared throughout the 60s and 70s and in many films. This seems to be the one that is the classic that she is remembered for so she does have that bit of a one and done screen present square she is just a goddess in this film, but not, like a I can if anything he is more the tease in there bombshell, but someone beautiful, but you could also see her as normal and it’s not only about. It’s the way her character comes across with her personality and her matter at first it seems more like she’s playing and then she actually does have a plan and admit to her feelings so it doesn’t always feel like she’s trying to con him and he is more the tease in their relationship and intimacy as she seems usually willing and he’s the one who’s always backing away in the moment or at the last minute

The film does offer some genuine, sexy scenes without actually showing any physical sexual scenes, but just the intimacy, the longing, the heat, the sexual energy, sometimes the blocking angles imposing, just add up to making this film, somewhat erotic even when it’s not trying to

Though through all of this, the film never feels quite horny. It has a sophistication, even though it’s clearly identifiable mainly Moore bourgeois and also offers the difference between being free spirited and responsible, running away in a fantasy and dream, but I also having to wake up to reality and responsibilities, the difference between what we’d like to do but in the end might be best for you. 

Shot by legendary Nestor Almendros, one can understand why, though at times the film takes place in closed-off, tight spaces. It still feels vivid and quite visual, especially when it comes to the angles.

This film more or less feels like a lighthearted, sometimes funny look at a midlife crisis of a man dealing with fantasy, desire, love and responsibility. It feels like a more serious, but not as overwrought Woody Allen film in the early stages of his career, as this film came along around the same time, so deals with a neurotic main character who seems more laid-back and tries to play it a little more cool when it comes to life in his decisions, 

after all he is and this film has more of European sensibilities of having emotions, but not being as hung up at least noticeably or visibly dealing with things as they come. Not treating life and people as something of pure fantasy. At least that is what the audience is led to believe by the cinema and on-screen pictures.

It’s much more formal and nuanced than most films with the same situations. Thigh, then again to heighten as a thriller or comedy, and here it is more or less presented for the characters and audience to decide where their loyalties lie.

It’s another film that seems more a study or a discussion piece while having full characters and not so much on action. 

When it comes to the character of Chloe, you can understand the temptation, but she is a bit weird as she is obviously beautiful, but at times or angles, looks more basic or normal. I guess it’s her personality, attitude and demeanor more than anything. Even though she is obviously attractive in her own way. As she is like a Monet, looks better far away, up close you see more of the cracks or the resentment.

In certain scenes, the film offers a hint of skin, touching, and flirting as the character slowly gets closer, she even declares to be in love with him as she can have him at any time, but she wants. He obviously wants her but resists. So that it is a constant tango between the two of them is sexy and sensual simply, but not gratuitous

The film is a middle-aged male fantasy that is granted and presented with the drama of the reality of it, especially when having second thoughts.

The film was remade. I THINK I LOVE MY WIFE, which was more comedic, but I liked when I saw it in theaters. I saw that film first before I saw this one, so this film feels quite familiar. Where is that film feels more like a crowd pleaser, both films, the main character, the main character comes across as a tease. 

The film is like a Woody Allen film without so much of the comedy and a much smaller cast. We’re only the leads are allowed to make moments.

PERSONEA (1966)

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Written & Directed: Ingmar Bergman

Cinematography: Sven Nykvist

Editor: Ulla Ryghe 

Cast: Bibi Andersson, Liv Ullman, Margaretha Krook, Gunnar Bjornstrand 

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth’s persona.

A recent watch for the first time and out of the 3 I have seen, my Favorite Ingmar Bergman film.. So far. 

For me a truly perfect film. Believe the hype. Even though it surpasses it. 

A movie I probably would not have even given a second to watching what I was younger I like line I like to think that my Taste has matured overtime, truly appreciate films such as these and discovering them so later in life allows to look a bit deeper into the film and notice as well as study different aspects of the film and the film making as well as a bit of the filmmaker too

Plus, for such a legendary epic film, it’s kind of short by today’s standards, which I’m finding happens with quite a few foreign classic films. Maybe that should be a lesson to some filmmakers that you can say all you need to say and don’t need a three-hour running time, the irony here is that I am long-winded usually myself, and most things

It’s a film taught and shown in film schools and art appreciation courses. Some Look at it as an achievement, Some look at it as work. few have the same Opinion of what it is truly about 

Made to seem so easy and seamless, no one really knows the work that went into it 

this is one of those striking films where it’s been analyzed numerous times, and you can’t help but try to make sense of it once you finally see it 

That’s hard to give a proper review without putting a little bit of your own mindset or interpretation into it. You can tell people the basics, but it doesn’t do the film justice. 

as it’s a film, some people might find boring pretensions or too Artsy, but watch it. It’s revolutionary and revelatory to the senses just the way the stories told and filmed and acted that have one meaning as a viewer, but also another meaning, watching the characters and the performances.

it’s way of telling a story, but also each character story from their own point of view in a connection is that they have that slowly comes into focus the way which story is told not to mention not expecting the way it’s filmed the way it’s edited and the way it all comes together it’s a daring experimental style that might have been imitated but been done sufficiently or clearly as it is done here

it reminds you when cinema for the most part was not only more experimental, but also more willing to challenge the audience and maybe even the artist itself like most artist Director has their own style and here you get that Egmar Bergman loves characters more than anything even stories or plots but also to a certain degree it feels like a Director analyzed like David Lynch

where people tend to put meaning onto certain things in the film that might actually not have as much significance as they think, and might have actually just been a mistake, or just how things went in there, not really meant to at least Bergman is or was, more vocal than David Lynch has been in interviews 

This is a film that, if you are a film fan, and especially if you want to get into film in any way, shape or form, you must see. I saw it recently for the first time and truly appreciate it as it is now one of my favorite films of all time, but also might be out of the previous few films of Ingmar Bergman. I’ve seen my favorite. Maybe I’m jumping on a bandwagon or just with fans

As it says so much, not only back then, but still, what film can be what cinema can be what writing can be what acting can be what characters can be so it’s very inspiring as you amazement.

there’s nothing quite like this film, except what a shock to the system or disorienting it might be at times that the beauty of it is that everything is so subtle and compose given to you in a manner and which most films try to disorient and jar you to get the same feeling here it feels a little more elegant, calm, and simple 

this is supposedly the film where Igmar Bergman fell in love with one of the stars liv Ullmann even though from the beginning, it seems like actress Bibi Andersson is doing all the work while live omen is in insane but or in the background and listening, but as the film goes on, it’s more Andersson occupies the first half of the film and Liv Ullman takes over or they switch rules and away so that then it becomes live once. Though Ullman is it quiet and still has developments in the second half of the film, she more or less shrinks so the other can grow.

The beauty of the film is that even though I was majorly hyped as a classic, it still doesn’t prepare you for how much you’re going to like the film or how good the film is. It still comes across as a surprise by the time you finish watching the film, how far you’ve come, it seems like you’re in the same place

even the camera work, lighting, editing, and film production are just so composed. It’s an art form in itself. Not to mention, of course, the acting, writing and directing. 

not to mention filming it in black-and-white, as I’ve always said if the film is truly good or great, it makes it timeless in itself, as it’s obvious around what time the film is taking place or the years that the film is taking place. A story that could still be told at any time and still have the same meaning as these characters, will always be identifiable to the audience, if not for themselves, they know somebody similar, as well as seeming like they know these characters from somewhere, might even have the same issues.

Sometimes you should believe the hype as even the hype doesn’t do it justice. It’s a film that manages to make so much out of what looks like very little.

At times we all need to take a break from the world, I watch or try to watch classic films, and classic foreign films to me. It’s the cinematic equivalent of reading the classics seeing what inspired or seeing if these films are worth the hype usually they are full of so much depth And amazed that they still hold up and are better some of the modern offerings there’s a  deep to them and it’s not only because with black-and-white they come across as timeless manages to do so much and say so much and under 90 minutes that some films can’t even muster with an over two hours of the revolutionary time, but even-still while watching it

Sometimes you want to get lost in their worlds, even if just for a few moments, not necessarily fees, but a certain beauty  and amazement

Happy I took my time and finally watched it and experienced it at the right time when I could more appreciate it as if I had seen it when I was younger. I might’ve even liked it, but it wouldn’t have made as much of an impact on me. I don’t believe, as I might not have had the patience or recognized certain identifiable aspects of the film

This is an excellent movie, another one to add to my favorites of all time, definitely a must-see for any film lover or film student, as well as a writer.

Either way you shouldn’t be reading this until after you’ve watched the film 

GRADE: A

LE BONHEUR (*HAPPINESS) (1965)

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Written & Directed By: Agnes Varda 

Cinematography: Claude Beausoleil And Jean Rabier 

Editor: Janine Verneau

Cast: Jean-Claude Drouot, Claire Drouot, Marie-France Boyer, Marcelle Favre-Bertin, Manson Lanclos 

François, a young carpenter, lives a happy, uncomplicated life with his wife Thérèse, and their two small children. One day he meets Emilie, a clerk in the local post office.

There is no way I can talk about this film without spoiling it, so if you haven’t seen it, check it out first and then come back for the review.

This is one of those films where I could give you a simple review, but this film wasn’t made for that if you want the simple review, it’s good watching, though I’m not sure a lot of people will appreciate it or like it, but in a long-term sense.

This is one of those films that’s meant to be experienced, but also discussed as different people will see different things in it, and have different opinions about and touch subjects that most of us have experienced or have witnessed, and have definite opinions from our point of view that might not match the film’s

First off, this is my first Agnes Varda film, the celebrated late Director, so I wasn’t exactly sure what I would get. 

Most of this film is a happy-go-lucky movie, but as you get towards the end, that is when the films seem to present itself.

This is a tricky Film where everything no matter what happens seems happy though there’s a subversive current going through it as we see this man who is perfectly happy just starting fair and fall in love so easily with another woman, even though he’s in a supposedly happy marriage and we never see any signs of stress or boredom within it he is willing to give everything to his mistress who doesn’t seem upset that he’s actually married.

After we watch how he functions with his wife and his marriage, and then this affair starts and then around the end of the second act, he finally tells his questionable wife, consequences that we are never 100% sure of as it is sad that she has drowned, seems rather questionable as to maybe she decided to end her life, especially after he has informed her of his affair and then expects her to be OK with it and makes love with her and Field, like his actions were a mere Infraction that he will Keep Doing but the story goes along.

Even though he told his wife that he loved the woman and her both, he is willing to end the affair and just be with her, but if she truly loved him, she would let him continue as he can still love both of them equally as long as they love him.

This would seem like a film made by a misogynistic man who wants to come across as romantic and sympathetic, but actually made by a female Director, trying to present this with a bow, but also expose the hypocrisy involved becomes all the more disturbing and basically replaces his late white with his mistress and everything seems to go back the same, and he never pays any consequences. 

Never seems to show any sorrow and gets exactly what he wants, and there’s no confrontation. There’s no real drama, which gives the film a kind of sarcasm, as the film seems to just let this man get away with everything and never pay any consequences.

which was a reality at the time, and unfortunately might still be in most cases, but also the fact that it seems to be having a commentary on how romantic films of this type played under the male gaze, where the woman always suffers, in the man gets exactly what he wants here. It feels like you should feel outraged over this, but unfortunately, there are no real problems for the character and it feels like an injustice.

Grade: A – 

AMUCK! (1971)

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Written & Directed By: Silvio Amadio

Cinematography: Aldo Giordani

Editor: Antonio Siciliano 

Cast: Farley Granger, Barbara Bouchet, Rosalba Neri, Umberto Raho, Patrizia Viotti, Dino Mele, Petsr Martinovitch, Nino Segurini

The secretary of a writer and his wife investigates the disappearance of her lover – their previous secretary – and finds herself the target of the couple’s erotic desires and a murder plot.

When it comes to older foreign films, especially let’s say Italian or Spanish. They truly encapsulate and showcase culture going through a transition at the time, trying to be as modern as the times that the film was made, but also still having a classic-looking feel. 

The female characters always dress well and in style. The protagonists are usually sexy and beautiful. With homosexual activity or seduction. It is surprising some of these films as they are more explicit than some of the films coming out today, which are supposedly more open-minded. Which then makes the scenes like these sexy though a bit more fetishistic.

Especially here as many scenes have a slow motion softcore scenes that are quite revealing and usually same-sex. There are quite a few that make the film at times feel like it’s more lesbian erotica with a plot, with gorgeous women. Not necessarily regular or ordinary-looking women. It offers a distraction or entertainment. As the film has a mystery at its heart, though you know who is guilty, the only question is how or why.

Though shot more for a male viewing audience as it has that day through it, most of the women appear naked or topless, and all seem to have great voluptuous bodies and petite frames.

Though the erotica is more in the first half, making it seem like the film will be a sexual liberation movie most of the time. The second half becomes mortgage, dramatic, and fashionable, yet slows down and becomes dull and not quite as titillating or flashy.

One wishes that there was more mystery to the whole endeavor. Which is at heart a giallo 

Barbara Bouchet looks so incredible that you can barely take your eyes off of her throughout. Except when co-star Rosena Neri Osnon screens who has the more dangerous-haired look. Whereas Bouchet is the innocent, Neri is the liberated wild card.

Ultimately, the film feels like more of a tease with nudity rather than too much action. The action that there is is more exploitative than Romantic, leaving a more will they are won’t they question in the minds of the audience rather than any real or threat of violence.

One of the few strengths of the film is the rather surprising ending, though an explanation more than anything else, and perfectly unpredictable as no one in the audience would have guessed it.

More to look at if you admire the female form and how it’s filmed, kind of like a film filled with beautiful bombshells and a weak mystery.

Grade: C+ 

BLOW JOB (1980)

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Written, Directed & Edited By: Alberto Cavallone

Cinematography: Maurizio Centini

Cast: Danilo Micheli, Andrea Massarelli, Anna Bruna Cazzato, Mirella Venturini, Valerio Isidori, Antonio Mea, Alea Armani

Stefano Vicinelli and his girlfriend Diana fall two weeks behind on their hotel rent and face having their luggage and car impounded until they can pay the bill. Conveniently for them, a distraught woman in the room right above theirs leaps to her death from the window. Using that as a distraction, the lovebirds sneak out and take off. Running low on money, they pool what little cash they do have and go to the racetrack. Stefano encounters a crazed woman wearing sunglasses who demands he give her a key so she can unlock a door. After she calms down, she proposes a deal with him: She’ll help him win money in the horse race if he’ll help her “get past the gate.” Having no clue what she’s even talking about, Stefano reluctantly agrees and bets on her suggestion. After the horse wins and he collects, he feels obliged to accompany the strange woman – who introduces herself as Countess Angela – back to her home.

The film has a misleading title that seems used to get an audience interested. Sure, it’s an erotic movie that doesn’t actually show or revolve around the sexual act in particular. It hints at the act once. 

Though it is more like a softcore erotic movie with a supernatural plot that isn’t too convoluted but leads to erotic interludes. So that it literally feels like a porno with a plot and professional production values. That never goes in the direction of being a full hardcore adult film, but also barely has any direction. 

As it never quite comes across as a believable supernatural thriller either. Though the eroticism is the only thing that makes the film entertaining 

Strangely enough, the film takes itself too seriously instead of going full steam into a more cultural exploitation experience. 

There is of course plenty of nudity as well as softcore sex of all kinds, with a love story thrown in. The film feels heavily edited to make sure the action doesn’t go too far into more hardcore territory. 

The film’s plot really makes no sense. Though the movie tries to hypnotize the audience with surreal imagery. That feels more like arthouse pretensions with hippie philosophy and astrology thrown in for plenty of ceremonies. 

No, the grade isn’t because it doesn’t live up to the title, but at least if the filmmakers had just decided to go with a more out-and-out pornographic movie. Maybe the audience wouldn’t;t have been so let down by a title that seems more meant to shock, but ultimately becomes more a gimmick

Grade: F

DEATH WALKS ON HIGH HEELS (1972)

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Directed By: Luciano Ercoli 

Written By: Ernesto Gastaldi and May Velasco 

Story By: Dino Verde, Ernesto Gastaldi and May Velasco

Cinematography: Fernando Arribas 

Editor: Pedro Del Rey and Angelo Curi

Cast: Susan Scott (Nieves Navarro), Simon Andreu, Frank Wolff, Carlo Gentilli, George Rigaud, J. Manuel Martin, Luciano Rossi, Claude Lange

After a French stripper is harassed by a man who wants a cache of diamonds stolen by her late father, she flees to England in the company of a doctor, but danger follows.

There is a murder mystery at the heart of this film that seems to take a backseat to showing the body fashions, styles, wigs, and beauty of the film’s star Nieves Navarro. As the film practically worships her as much as most of the male main characters do in the beginning 

So much so that it feels like like a star vehicle as we see her in states of undress and high fashion, where each scene seems to be her in a new outfit or look even in her striptease in which it seems like she does blackface or it’s just very heavily tanned with an Afro wig. She manages to burn through the scree. She manages to burn through the screen. A chance for her to role-play and these costumes, even as she plays the same character.

Their scenes of her whole striptease and scene of her eating by a fireplace that plays more like sex between her and her married lover, then just simple foreplay, especially with all the close-ups of their faces. As the film tries to exude glamour, class, and a fair bit of being campy.

Now, once the second half of the film starts, it almost feels like a different film. This is where it becomes more of a murder mystery and it’s not as magical or fun. The reality seems to set in. 

As almost everyone is a suspect as they all seem to be fascinated or stalking the lead female character, even both. Even the married man’s wife becomes a suspect, and she seems to resemble an older version of the main character, the actresses look alike

The main female character is the truly interesting part. She seems to be the bait for all of the characters, including the audience.

There is even a ridiculous action scene that seems obsessed with the female character who keeps seeming to hit her silence in the balls times throughout a scene.

The film offers plenty of twists and turns, though it does feel lengthy at times. The film isn’t as thrilling or spooky as expected, and a movie of this kind that resembles a Giallo. Though it feels like a naughty version of a police procedural from the 1970s on foreign land. We see the before, the actual crime, and the after with an investigation. 

It’s also not the most artistic as the first half works more as a relationship drama with lavish locations and some intrigue. It ends up being more fun than expected.

GRADE: B-