I kinda miss the times when you could watch violent Eurocrime thrillers featuring chases in the most comically tiny cars filled to the rim with three or four burly passengers.
This was filmed in Bari and in my younger years in the mid-1980s I once visited the place while hitchhiking through Southern Italy. My abiding memory from it is when I was sitting on a park bench and on another bench next to me there was an elderly lady with…
Wow, just noticed how many awful ratings this film has, yet for me this one as well as the first HUMAN CENTIPEDE are some of the most important films of this still young century.
Whereas most film series follow a format to death this follow-up has a completely different style and feel than its predecessor. It took guts to turn the format around 180 degrees and make this more of a black and white arthouse style movie and an experiment…
It is what it is and it ain't great but every once in a while one needs a "Best of Puppet Master"-reel play in the background.
I'm such a sucker for this series and genuinely can't see no wrong with it. Even the weaker entries have me enamoured with their low budget world building and mythology. Having the right mix between olde worlde gravitas (Guy Rolfe) and new world beefcake (Greg Sestero) doesn't hurt either.
Let's put things into perspective: In a few thousand years when all the movies we're discussing here will be forgotten/lost/practically incomprehensible for Future Man, these cave paintings will still be around. Now *that* is longevity in art.
One of the very last silent movies to be made and also one of the best.
Incredibly fast paced production with a quasi-modern sensibility for its pulp fiction imagery.
A would-be African explorer discovers that adventure is just a few steps away from his New York home when he together with his fiancee gets kidnapped and they are both forced to take part in black magic and satanic rituals in a vast mansion.
The film is chockablock with pulpy tropes…
