Some Great Releases from Arrow Video!

Oh, hell yes, I love how all these great movies are finally getting the proper Blu Ray/DVD treatment! I got some great news from MVD Entertainment Group a few days ago about one film in particular that I have been waiting to get my hands on - my favorite giallo film of all, Your Vice is a Locked Room and Only I Have the Key!!! Not only that, the film is being released in conjunction with Lucio Fulci's The Black Cat, seeing as how both films are based on the Poe story The Black Cat. WANT WANT WANT!!!



Here's the press released from MVD with all the important info:

Edgar Allan Poe's Black Cats: Two Adaptations by Sergio Martino & Lucio Fulci

 

Edgar Allan Poe's celebrated story The Black Cat has provided the inspiration for numerous films over the years. But few adaptations are as stylish as those offered up by the twin Italian titans of terror, Sergio Martino and Lucio Fulci.

 

In Martino's classic giallo Your Vice is a Locked Room and Only I Have the Key, teacher Oliviero (Luigi Pistilli, A Bay of Blood) finds himself under suspicion for murder when one of his students - and mistress - is found brutally murdered. As more bodies start to pile up, the arrival of Oliviero's attractive niece (Edwige Fenech, Five Dolls for an August Moon, All the Colours of the Dark) brings with it complications of its own. 

 

In The Black Cat, from that "other" Godfather of Gore, Lucio Fulci (Zombie), Scotland Yard Inspector Gorley (David Warbeck, The Beyond) find himself summoned to a sleepy English village to investigate the recent murder of a young couple. With no obvious signs of entry at the murder scene, Gorley is forced to start considering the possibility that his suspect may not be human... 

 

Finally together on Blu-ray and in stunning new 2K restorations from the original camera negatives, fans can enjoy the double-dose of terror that is Edgar Allan Poe's Black Cats - Italian-style!

 

LIMITED EDITION CONTENTS:
-Brand new 2K restorations of the films from the original camera negatives
-High Definition Blu-ray (1080p) and Standard Definition DVD presentations
-Original Italian and English soundtracks in mono audio (uncompressed PCM on the Blu-ray)
-Newly translated subtitles for the Italian soundtracks
-Optional English subtitles for the deaf and hard of hearing for the English soundtracks
-Brand new interview with director Sergio Martino
-Dolls of Flesh and Blood: The Gialli of Sergio Martino - a visual essay by Michael Mackenzie exploring -Sergio Martino's unique contributions to the giallo genre
-Stephen Thrower, author of Beyond Terror - The Films of Lucio Fulci, on The Black Cat
-Reversible sleeves featuring original and newly-commissioned artwork by Matthew Griffin
-Limited Edition 80-page perfect-bound book featuring new writing on the films, Poe's original story and more, illustrated with archive stills and posters
-Much more to be announced!

 

RELEASE DATE: OCTOBER 13th

 

Pre-order at Amazon: http://amzn.to/1RMWmH0 

 

 

 

Movie Review: Your Vice is a Locked Room and Only I Have the Key (1972)

How strange that I should watch this movie in such close succession to watching Lucio Fulci's The Black Cat because both films claim to be based on the Edgar Allan Poe short story "The Black Cat." Of course they changed the title a bit for today's film, obviously because Your Vice is a Locked Room and Only I Have the Key is much more simplistic, easier-to-understand title. I seriously have no idea what that title means. How can somebody's vice be a locked room? Am I misunderstanding the definition of "vice"?

In a palatial but dilapidated villa, failed writer Oliviero Rouvigny lives with his wife Irina where he throws decadent parties every night with a local hippie commune. He drinks heavily and humiliates and abuses Irina whenever he can, and obsesses about his dead mother. When a local girl Oliviero had relations with is found murdered, he becomes the prime suspect, making him more paranoid and letting loose his sadism against his wife, who herself is falling deeper into depression and madness as well. There is also Oliviero's black cat, Satan, who used to belong to his mother and who Irina fears.

Sergio Martino was not before on my list of giallo directors to look out for, but after Your Vice, he definitely will be. This film is tightly shot and paced, with hardly any lulls in the story and almost every scene has importance to either the plot or the arc of the characters. There is murder, of course, and free-flowing and sometimes perverse sex, but that never detracts from the core story around Oliviero and Irina. Oliviero's niece Floriana comes into the story later, manipulating both of them to her own gains. Complex characters, a tight plot, and a murder mystery - the perfect recipe for a truly engaging and entertaining movie.

I'd be remiss not to comment on each of the three lead actors. Luigi Pistilli as Oliviero is almost terrifying in the emotionless way he carries out his various atrocities. He has such a calm demeanor throughout most of the movie that it is hard to watch him abuse his wife, molest his black maid Brenda in the middle of the party at the beginning, and, most of all, take up a sexual relationship with his own niece while he plots to murder his wife. Anita Strindberg's best asset as Irina is her face, full of sharp angles, a tight mouth, and wide, expressive eyes. You absolutely believe every emotion that she portrays with that face. Edwige Fenech (whom you might recognize as the art class teacher from Hostel: Part II) is the seductive and intriguing Floriana. Her role is an interesting one with the way she wedges herself in between Irina and Oliviero, actually having sex with both of them. We find out that the only reason she is there is to get her late aunt's expensive jewelry, but you can tell that she almost enjoys the sick things she chooses to do in order to possess them.

As a giallo film, I was expecting lots of lavish and beautiful death scenes. I was a tad disappointed in that regard, with only a few neck and chest slashings, but they were still filmed to look very pretty. Fausta's throat being cut was probably the most well done out of all of them, while the long gash from Brenda's chest to her stomach was too obviously a prosthetic. The bright red paint serving as blood, a giallo staple, is a great image and helps to overlook the fact that the other special effects are sometimes not up to par with the rest of the film. After Satan the cat kills some of Irina's beloved pet doves, she goes a little crazy and stabs out one of the animal's eyes. Subsequent scenes of Irina's obsession with the cat wanting revenge on her show a ghastly bloody hole where his eye used to be. It doesn't look all that real, but it's certainly memorable and gets the job done.

Poe's "The Black Cat" is a story about obsession, fixation, and paranoia, and cleverly crafted right up until the gleefully fitting end. Given the fact that in the story is was the husband who murdered his wife, and it was her cat that he was afraid of and tried to kill, I should have known right away that Irina was actually behind everything that happened. Bah, what's wrong with me? The film ends the same way that he story does - with Satan the cat revealing Oliviero's dead body behind the cellar wall - but it's hard to feel as satisfied about this conclusion because of the sympathy the audience probably has for Irina. Though she has planned and carried out several murders of innocents in order to get to her husband, she suffered under him, and there is no reason to have any sympathy for Oliviero. Eh, I guess justice was served on both sides.

Your Vice is a Locked Room and Only I Have the Key was more than a welcome surprise. I never know what I'm going to get with some of these giallos, but several times I have been happy that I gave them a chance. This was a great find, and I hope that there are many others like it out there.

Movie Roundup: Just Some Random Stuff...

So despite my lack of posting lately, I have actually watched a bunch of movies, just never obviously got around to writing about them. I shall now do so in my Movie Roundup, Random Stuff edition!

Carrie (2013)

I was nervous as hell about what they would do to one of my favorite horror flicks, but as with all the remakes, I gave Carrie the benefit of the doubt. But... I fucking hated Carrie. There were some things that I was okay with - they changed the gym teacher's name back to Desjardin like in the book, added in Sue Snell's pregnancy, and did a nice job updating the flick to the modern day with the Internet video of Carrie's locker room humiliation. However, I was not sold on any of the performances. Though Chloe Moretz did her best, she just did not have the same feeling about her to make her as sympathetic or vulnerable as she should have been. I hated the scenes where Carrie was practicing her telekinesis because that totally went against who Carrie is supposed to be and the shock and redemption you're supposed to feel during the prom massacre. Moretz played Carrie too confident and rebellious against her mother. Julianne Moore was actually good casting, but I just could not get Piper Laurie out of my mind. That is one of my favorite performances ever, and I don't think anyone could have topped her. Sue and the rest of the girls were your basic stick-thin, pretty, popular bitches and they weren't memorable at all. The prom sequence was okay enough, but damn did I hate the deaths of Billy and Chris. The way her face was sticking out of the windshield? Ridiculous. 

One of the worst things about Carrie was that I went to see the movie with someone who had not seen the original before, and the remake was so bad that he said that he had no desire to see the original! I tried to tell him otherwise, and I only hope he listened. I tried not to compare the movie too much with the original while I was watching it, but with a film as big as Carrie and one that I admire so much, it was really hard not to be critical.

Curse of Chucky (2013)

I wrote a short post about how stoked I was for Curse of Chucky after seeing his new look for this sixth installment. For the most part, Don Mancini and crew did manage to take Chucky back to his scarier roots, however, I'm still not a big fan of the story they came up with. So Chucky is mad because a woman he kidnapped and whose husband he murdered called the police on him? Really? That's shocking! And it didn't really match up for me that this was the same night he transferred himself into the doll because where was his partner Eddie who left him? Not explained. As for the rest of the movie, I kinda dug it. It had a very old-school, old-dark-house feel to it with the location, and Chucky freaked me out just as much as he ever did in some specific scenes. Though his hair was a little too long, I was happy that they went back to Chucky's non-scarred look, and really disappointed when they brought the scars back again toward the end. Brad Dourif is fantastic as ever, and even gets some screen time himself during flashbacks. His daughter Fiona carries the film well as paraplegic Nica, and the other characters are fun and refreshing for the series. There's even some surprises that I never saw coming, and actually the whole plot was constructed in such a way that I never knew what direction they were going to go in. A very good installment for the series, and loads better than the atrocity that was Seed of Chucky. Here's hoping for more Child's Play fun in the future - and hopefully they'll actually put "Child's Play" in the title this time. I'm getting a little sick of this "of Chucky" crap.

How much did I love seeing the stuff with Andy at the end? A LOT, I tell you. A LOT.

Invasion of the Body Snatchers (1958)
There have been several adaptations of The Body Snatchers novel since 1955, and the only one I had seen was 2007's The Invasion which I don't even remember at all. Part of this 1958 version is very cool even by today's standards but I admit to getting a little bored toward the conclusion. I like how the film was introduced as a frame story; it gave good reason for the voice over and gave the audience some insights that they might not have had just from the plot itself. The effects work on the blanks and the pods was impressive, even that bubbly, sudsy effect, and a bit more gross than I was expecting. As for another effect - the cheese effect that is possible in any kind of B horror movie - I was happy to see that it was quite minimal. The movie has a very serious, creepy undertone stemming from the fact the more pods and replicas that are created, and the longer they go without sleep, the more likely it is that our main characters will fall victim to it as well. Very excited to see the Donald Sutherland version now, because, well, Donald Sutherland.

The Return of the Living Dead (1985)

Holy goddamn, you guys. I don't really have much to say about this movie other than that it was FUCKING AWESOME. Why, oh WHY, have I never seen this before? I loved every second of it and actually haven't had that much fun watching a movie in a long time. I'd really like to do a proper review of it soon, but I'll have to see it again in order to catch me up on the specifics. For now, just know that I am in love with this movie and want to have its baby.

The Black Cat (1981)
Definitely NOT Edgar Allen Poe's Black Cat, that's for sure. Shame, because that's one of my favorite short stories. Anywho, this Black Cat is of the Lucio Fulci variety, that mad genius who entertained the hell out of me with The House by the Cemetery. Sadly, he couldn't do the same with The Black Cat. I was beyond happy to find out that Patrick Magee, my favorite bushy eyebrowed actor, was in this one, and I love cats so I love seeing them  even when they're all evil and scratching and killing people. The problem though is that the movie lacks Fulci's famous gore and is mostly a bore. Fulci does once again show his love for doing lots of close-ups on people's eyes but nothing about this movie is up to snuff with other movies in the same genre. I'm bored now.

Bruiser (2000)

Well, hm. This was interesting. Actually on second thought, no it wasn't. This wasn't a good movie and it hurts me to admit that about something my beloved George Romero did, but this was just... weird. I mean, was there supposed to be some metaphor here about standing up for yourself when you lose your old identity and have the freedom to do what you want? Or something? Because this sure was an odd way to do it. The premise of the story is really just kind of stupid, with a guy waking up one day to find out that his face is nothing but a blank white mask. How or why this happened is never questioned by anyone, and main character Henry Creedlow runs with it too easily, immediately taking out anybody who makes him feel like the doormat he used to be. Boring, silly, unbelievable. Didn't like it.