‘Blood on Satan’s Claw’ (1971) washes off rather easily
Frightening Friday (Movie review): It’s a folk-horror classic in film-nerd circles, but I suspect most viewers will find it slow and cheesy.
Foreign Films
‘Blood on Satan’s Claw’ (1971) washes off rather easily
Argento still has the giallo knack in ‘Dark Glasses’ (2022)
Frightening Friday (Movie review): It’s a nostalgic throwback more so than something fresh, but we are treated to an unusually robust friendship story.
Argento finally wraps trilogy with ‘Mother of Tears’ (2007)
Frightening Friday (Movie review): This capper to the “Three Mothers” trilogy unfortunately gives way to Aughts trends, but it’s better than no movie at all.
Argento brings his B-game to ‘The Card Player’ (2003)
Frightening Friday (Movie review): This underachieving giallo at least taps into trends of the time, including poker and early internet-based crime.
‘Sleepless’ (2001) more like a pleasant horror dream than a nightmare
Frightening Friday (Movie review): If you’re into giallo, Argento’s first film of the new century is a nice trip down memory lane.
Argento’s ‘Phantom of the Opera’ (1998) a kitschy experiment
Frightening Friday (Movie review): While the film isn’t completely awful, it furthers the case that Argento is better with original material.
In ‘One, Two, Three’ (1961), Wilder knows the ABC’s of good comedy
Wilder Wednesday (Movie review): Wilder shows “Some Like It Hot” was no fluke by delivering this exhausting but clever romp.
Bava lays a foundation with ‘Blood and Black Lace’ (1964)
Frightening Friday (Movie review): But later works would put his style innovations to scarier use than this procedural murder plot.
‘A Bay of Blood’ (1971) shows where ‘Friday the 13th’ came from
Frightening Friday (Movie review): The style and practical gore effects remain outstanding, but the plot of this Bava film has never been strong.
‘Stendhal Syndrome’ (1996) is stupid but rather engaging
Frightening Friday (Movie review): Asia Argento plays the least plausible cop ever, but her father Dario’s directorial style remains a high point.