Oh, and he continually makes phone calls to his potential victims and speaks in a series of duck quacks. This is Fulci in full-on Hitchcock mode, much more interested in tension and suspense than shock or horror (that wouldn’t come until Zombie Flesh Eaters two years later).
Zombie Flesh Eaters is bleak, gory and, whilst it’s certainly not the best film ever made, quite a lot of fun. – 2009 Interview with Co-Star, Paint Me Blood Red – Interview with Poster Artist.
Fulci has worked with the trope of “the Bad Place” before and would subsequently, too, but there’s something about limiting himself to the location that energizes him here. Manhattan Baby (1982) – A number of Fulci films could be described as “mixed bags,” but maybe none more than Manhattan Baby. As NYPD detective Fred Williams (Jack Hedley of FOR YOUR EYES ONLY) follows the trail of butchery from the decks of the Staten Island Ferry to the sex shows of Times Square, each brutal murder becomes a sadistic taunt. Several of Italian director Lucio Fulci’s films have been restored from the original 35mm negatives after being digitally scanned in 4k/16-bit video resolution. Only a handful of images – one involving a decomposing figure and another involving a sexual attempt gone horribly awry – manage to speak directly to the nightmare centers of our brains. amzn_assoc_region = "US"; The Beyond (1981) – Winner and still champion.
Director Lucio Fulci's 1981 horror film The Beyond is one of the greatest Italian horror movies ever, and its ending imagery is downright haunting.
Touch of Death (1988) – One of the rare comedic Fulci films since his early days (he got his start making Italian sex comedies), Touch of Death (aka When Alice Broke the Mirror) takes much of the director’s mean-spirited ugliness and attempts to wring laughs from it.
Jun 10, 2019 - Explore Monster Man's board "Lucio Fulci", followed by 3280 people on Pinterest. There’s plenty of nudity on display, but very little of even Fulci’s demented sense of sexuality to liven up the proceedings. Some of the director’s trademark sleaze and insanity has carried over from the likes of The New York Ripper, but it’s often strangely dispassionate, as though the director’s heart isn’t fully in it. An awkward college student (Milijana Zirojevic) is the victim of a cruel prank and winds up in a coma, but manages to psychically take revenge on her tormentors while unconscious in her hospital bed. amzn_assoc_design = "enhanced_links";
Fulci’s variation on Duel stars John Savage as a man who…drives a lot. Now, the films have been upgraded to 4k Blu-ray format and presented in 2160p with Dolby Vision HDR. Blue Underground’s critically acclaimed restoration of ZOMBIE, scanned in 4K 16-bit from the original 35mm 2-perf camera negative, is now presented with Dolby Vision HDR and a new Dolby Atmos audio mix, bursting at the seams with hours of Extras! * Poster & Still Gallery The spirit of a comatose teenage girl possesses the body of a newcomer to her girls boarding school to enact bloody revenge against the elitist coeds responsible for her condition.
To a certain extent, the film feels as though it was a reaction to the critical lambasting of those that directly preceded its release, the gore elements had undoubtedly been toned down slightly in favour of story exposition, though sadly this is to the film’s detriment, slowing the pace down immensely.
Despite working with maybe the biggest movie star of his career (Hollywood movie star, at least), Door to Silence never really comes together at all and definitively demonstrates that Fulci’s best days were behind him.
They were also fairly expensive to rent, and in order to be one of the Chosen Ones issued a rental card you had to put up a hefty down….
Here we see a long, lingering shot of the titular house, before moving in to find a young blonde woman calling out for her boyfriend, naturally he turns out to be dead, and the same killer quickly turns his attention to her too. We appreciate visitors using the links or shopping carts provided which can help to keep this site updated and running. I’m not making that up.
The Black Cat (1981) – Though often considered middle-of-the-pack Fulci (which, as Fulci scholar Stephen Thrower points out, might have something to do with the film’s lack of gore), The Black Cat is a surprisingly strong entry in the Maestro’s filmography.
As a side note, there is a sequence involving disembowelled dogs that saw the film, and its director, investigated owing to the particularly graphic and realistic appearance of the props, seeing special effects maestro, Carlo Rambaldi forced to testify in court to prove that no animals were harmed in the making of the movie.
This is Fulci’s most experimental film – his 8 ½ if you will – and also his most challenging. The Sweet House of Horrors – (1989) Originally made for Italian television (but released to video instead because of its violent content), The Sweet House of Horrors might be one of Fulci’s strangest efforts – and that’s really saying something. The disc releases... As an Amazon Associate this website may earn a small percentage from qualifying purchases. The first of the bunch, Zombie (1979), was released to 4k Blu-ray on May 26, 2020 from home media distributer Blue Underground. 14. Taste of Cinema 2019. A Cat in the Brain (1990) – Fulci goes meta, and the results are a fascinating mess. amzn_assoc_tracking_id = "hdrep-20"; Zombie (1979) – I’m sure it will be considered blasphemous to place Zombie (aka Zombie Flesh Eaters, aka Zombi 2) at #4 on this list, seeing as it’s arguably Fulci’s best known and most beloved movie.
There are a handful of moments of gore that feel a bit wedged in (Fulci gotta Fulci), and the repurposing of Fabio Frizzi’s brilliant score for The Beyond is a constant distraction, even if it does serve to remind the viewer just how good a score it is – distraction or not, the sequences in which it appears are better for it. Jennifer O’Neill plays a woman whose psychic visions lead her to uncover a murder, but there’s much more to the grisly crime than she first realizes. Many of his films examined the true nature of evil, but rarely did that evil wear so human a face.
* Zombie Lover Award-Winning Filmmaker Guillermo del Toro talks about one of his favorite films In a world where death can raise its ugly head at any given moment, it is perhaps surprising that Four of the Apocalypse is actually a film with a profound sense of hope found at its heart.
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