• So Sweet... So Perverse

    So Sweet... So Perverse

    More Lenzi/Baker fun. A really tight giallo thriller with some good twists and turns. I'm really enjoying all of these Carroll Baker performances. Lenzi constructs some really solid films, I'm really appreciating the craft of his gialli, his work feels a bit more slick and confident than some of the other Italian genre films I've explored.

    Week #26 in my 52 weeks of Italian cinema

  • Paranoia


    Continuing on with Umberto Lenzi's collaborations with Carroll Baker after how much I loved A Quiet Place to Kill. Got really excited when I saw Lou Castel also starred. I watched the X-rated US Paranoia cut, not the original Italian Orgasmo cut. A very bleak, psychological thriller. Colette Descombes and Lou Castel are both great at playing someone absolutely detestable. As I'm going through all of these mid-century Italian genre films, I'm really they could get away with so much…

  • Five Dolls for an August Moon

    Five Dolls for an August Moon

    Visually delightful as expected from Bava. Loved the Agatha Christie whodunit vibes. Was not expecting the futuristic mid-century space age house, that was a cool setting. Pretty messy narrative-wise and the ending didn't totally work for me, but the visual aesthetics and the overall vibe carried me through. A fun, breezy watch.

    Week #24 in my 52 weeks of Italian cinema

  • A Quiet Place to Kill

    A Quiet Place to Kill

    Loved it!! Definitely the most coherent plot I've yet to find in a giallo. Some great twists in this one. LOVED Carroll Baker! Such a more interesting protagonist than some of these Italian horror films I've been watching. Possibly my new favorite giallo. Stoked to continue with the Lenzi/Baker collaborations.

    Week #23 in my 52 weeks of Italian cinema

  • The Strange Vice of Mrs Wardh

    The Strange Vice of Mrs Wardh

    Great score and cinematography! A pretty convoluted plot but there were some solid twists. Narrative-wise, this is one of the more compelling giallo films I’ve seen. Some really striking nightmare imagery, too.

    Week #22 in my 52 weeks of Italian cinema

  • Torso


    35mm at the New Bev. The magenta coloring on the print actually added a bit to the movie, the muddy forest kill sequence looked pretty wild red tinted. A standard sleazy giallo most the way through, but the third act makes some really cool choices that impressed me. Also I love Suzy Kendall!

    Week #21 in my 52 weeks of Italian cinema

  • Firefox


    This is trying so hard to be Star Wars in the final dogfight. Clint even has a “use the force” moment. This movie is a snooze. Way too long with an awkward pace throughout. Probably the weakest of Clint’s directorial efforts I’ve seen.

  • Zola


    Really fun! Great tonal balance throughout and all 4 leads give strong performances. Loved the 16mm photography. Joi McMillon’s editing is really spectacular, she breathes so much life into the movie. And Mica Levi’s score is aces as to be expected.

  • The Cat o' Nine Tails

    The Cat o' Nine Tails

    Continuing on with Argento! The Bird with the Crystal Plumage was confident for a debut, but Argento steps up his craft even more here. Really well executed. The train kill sequence is pretty fantastic. The plot didn't particularly grab me, but it makes up for it in style and aesthetics. Glad I'm working through Argento chronologically so I can see him develop, I can already tell it's just gonna get better and better.

    Week #20 in my 52 weeks of Italian cinema

  • Two-Lane Blacktop

    Two-Lane Blacktop


    “Those satisfactions are permanent.”

    Finally caught this on 35mm, still an all-time fav. Print looked fantastic and it played great with a crowd. Perfect first trip back to the New Bev after 15 months. I love movies. <3

  • The Bird with the Crystal Plumage

    The Bird with the Crystal Plumage

    I’ve seen a decent amount of giallo films but Argento is still a fairly big blind spot for me. I’ve seen Suspiria but haven’t explored his giallo films. Figured I’d start from the beginning. Interesting to see what’s more or less the blueprint for the genre. Overall, a solid film. You can tell it’s an early film but it has a lot of great frenetic energy within its messiness. I’d like to catch this one in theaters someday but probably wouldn’t need to revisit it at home again. Excited to explore more Argento.

    Week #19 in my 52 weeks of Italian cinema

  • All That Jazz

    All That Jazz


    cinema’s greatest ego trip?