Somewhere:
From Sofia Coppola (who gave us the excellent Lost In Translation) comes something a bit familiar, albeit with a script that must have been as thin as a postage stamp, and lots of not much happening within a structure that has little care for the intricacies of the three acts, or inciting incidents, or what have you.
That said, if you are able to get into a sort of semi-drowsy state and just let the lack of much of anything happening wash over you, then you can kind of get into it. A directionless actor bums around at the Chateau Marmont in L.A. watching pole dancers until he falls asleep, and then his daughter turns up ... cue a series of roughly scripted scenes where suddenly this actor who lacks meaning, has a purpose in life ... then it sort of ends (in a way that could easily be seen as pretentious, rather than evocative - evocative like the how far superior Lost In Translation did with that haunting soundtrack and unheard whisper). Nothing amazing by any stretch of the imagination, but fans of sparse atmospheric filmmaking and shoegaze/indie music should be able to find something on offer here. However, many might very well find it all a bit scant and pretentious ... it's all in the eye of the beholder ultimately.
Savage Streets:
Directed by Danny Steinmann (who went on shortly after to call the shots on Friday the 13th Part V: A New Beginning), this lurid exploitationer concerns a girl gang who manage to piss off the wrong group of troublesome young men. Seeking revenge, the male gang rapes (and puts into a coma) the deaf/mute sister of Linda Blair's fiery high school senior (played by genre icon Linnea Quigley) ... big mistake ... that is after the flick goes a little bit off-the-boil, but once Blair straps on the leather and has a crossbow clenched in her mits, it picks up again. Stylish, sleazy (see the extensive, soapy, shower sequence early on that tosses in a soaking wet, semi-clad girl fight for good measure), and decidedly eighties (in a good way), it's actually a pretty solid revenge pic. Worth seeing for fans of such fare, or indeed followers of Linda Blair.
Tuesday, 11 October 2011
Saturday, 8 October 2011
What Have They Done To Your Daughters? (Massimo Dallamano, 1974): DVD Review...
Find more Shameless Screen Entertainment DVD reviews here.
This early 1970s poliziotteschi-cum-giallo has a bigger bark than bite - it appears to be more lurid, judging by the cover art (in Shameless' signature gaudy yellow), than it actually is. While Strip Nude For Your Killer (1975) was as sleazy as you'd expect, Daughters takes a different route and focuses much more on the police investigation aspect - that is oftentimes overshadowed by the easier to market themes of sex and violence.
A rich school girl is discovered hanged in a loft apartment - a girl who is evidently no stranger to carnal activities - and so begins an investigation that leads to the discovery of a secretive, high-end prostitution ring that specialises for those seeking underage exploitation. There are times when the film appears to have quite serious pretensions of addressing a horrific fact of life, albeit in the vein of an occasionally gruesome murder mystery. Indeed, by the end of the film, the underlying cynicism of Ettore Sanzo and Massimo Dallamano's script really comes to the fore to point a finger at the grim realities of political corruption - how thousands of missing teenagers are simply ignored by the system.
So while it might disappoint some of those seeking more exploitative fare, it does compensate in spades with a pretty strong police procedural story (relatively speaking, at least) mixed with elements of murder mystery and even action. A notable high point in the film is an impressive chase sequence that appears to throw caution to the wind in a somewhat guerrilla filmmaking style. The police chase a leather-clad, cleaver-wielding motorcyclist at high speed through the streets and - seemingly at least - genuinely catch unaware bystanders by surprise, which only adds to the thrilling riskiness of the chase.
Compared to Strip Nude For Your Killer, the direction and photography aren't quite as tight or quite as beautiful, but nevertheless Franco Delli Colli's cinematography provides a constant stream of impressive compositions, while Dallamano keeps the spotlight shining directly on the police investigation - indeed, considering some aspects of the plot, it makes an awful lot of sense to take the higher road. One stand-out contribution above them all, however, is Stelvio Cipriani's score - particularly "La Polizia Sta A Guardare" (as heard during the climactic chase sequence in Quentin Tarantino's Death Proof) - which adds a sense of propulsion that nicely compliments the procedural aspects of the plot.
Shameless Screen Entertainment's DVD makes for a solid presentation. The film looks about as good as you can hope for - this not being a 'big name giallo' like The Bird With The Crystal Plumage - yet the clean-but-still-grainy 2.35:1 print (in anamorphic widescreen) actually helps compound the grittier elements of the plot. A series of trailers for other releases, and a reversible sleeve round out the package.
For those with a penchant for 1970s giallo, this is definitely a worthy and intriguing entry in the genre. A mixture of mystery, horror, action, and thriller with a healthy dose of cynicism that makes for a strong and enjoyable viewing experience.
This early 1970s poliziotteschi-cum-giallo has a bigger bark than bite - it appears to be more lurid, judging by the cover art (in Shameless' signature gaudy yellow), than it actually is. While Strip Nude For Your Killer (1975) was as sleazy as you'd expect, Daughters takes a different route and focuses much more on the police investigation aspect - that is oftentimes overshadowed by the easier to market themes of sex and violence.
A rich school girl is discovered hanged in a loft apartment - a girl who is evidently no stranger to carnal activities - and so begins an investigation that leads to the discovery of a secretive, high-end prostitution ring that specialises for those seeking underage exploitation. There are times when the film appears to have quite serious pretensions of addressing a horrific fact of life, albeit in the vein of an occasionally gruesome murder mystery. Indeed, by the end of the film, the underlying cynicism of Ettore Sanzo and Massimo Dallamano's script really comes to the fore to point a finger at the grim realities of political corruption - how thousands of missing teenagers are simply ignored by the system.
So while it might disappoint some of those seeking more exploitative fare, it does compensate in spades with a pretty strong police procedural story (relatively speaking, at least) mixed with elements of murder mystery and even action. A notable high point in the film is an impressive chase sequence that appears to throw caution to the wind in a somewhat guerrilla filmmaking style. The police chase a leather-clad, cleaver-wielding motorcyclist at high speed through the streets and - seemingly at least - genuinely catch unaware bystanders by surprise, which only adds to the thrilling riskiness of the chase.
Compared to Strip Nude For Your Killer, the direction and photography aren't quite as tight or quite as beautiful, but nevertheless Franco Delli Colli's cinematography provides a constant stream of impressive compositions, while Dallamano keeps the spotlight shining directly on the police investigation - indeed, considering some aspects of the plot, it makes an awful lot of sense to take the higher road. One stand-out contribution above them all, however, is Stelvio Cipriani's score - particularly "La Polizia Sta A Guardare" (as heard during the climactic chase sequence in Quentin Tarantino's Death Proof) - which adds a sense of propulsion that nicely compliments the procedural aspects of the plot.
Shameless Screen Entertainment's DVD makes for a solid presentation. The film looks about as good as you can hope for - this not being a 'big name giallo' like The Bird With The Crystal Plumage - yet the clean-but-still-grainy 2.35:1 print (in anamorphic widescreen) actually helps compound the grittier elements of the plot. A series of trailers for other releases, and a reversible sleeve round out the package.
For those with a penchant for 1970s giallo, this is definitely a worthy and intriguing entry in the genre. A mixture of mystery, horror, action, and thriller with a healthy dose of cynicism that makes for a strong and enjoyable viewing experience.
Thursday, 29 September 2011
Flavours of the Month: September 2011...
LOOKS:
The A-Team (Blu-Ray) - still rather good fun. After a year or more of thinking the movie would suck, when I actually got to see it in the cinema last year I had a really good time, and it still is a good time. I'm not sure whether they will or not, but I would welcome a sequel.
Fast Five (Blu-Ray) - I never bothered with the second or third movie in the franchise (I saw clips and didn't like what I saw), and I found the fourth movie to be a bit underwhelming, but this fourth sequel was a bloody great time at the movies, and it continues to be so on home video (although goodness knows what the additional one minute of content is). Blisteringly enjoyable big-scale mainstream action.
Dangerous Roads (BBC2) - three episodes, three pairings of household British names (comedians and adventurers), and three distinctly treacherous journeys. In the absence of a new Boorman/McGregor adventure, this satiates the appetite a bit.
Carnivale - I missed this curious-and-rather-good show the first time around, but thanks to Sky Atlantic I've been catching up, and this month saw the first season draw to a close ... and what a closer it was! Cliffhanger central, so it was, with shocking twists galore edited together incredibly effectively to Hans Zimmer's "Journey to the Line".
Fresh Meat - a new comedy created by the blokes who gave us Peep Show, detailing the off-campus lifestyle of a bunch of first year uni students. I'm quite enjoying it, and not just because it's giving me flashbacks of my own time living off campus - mind you, our gaff was far smaller and decidedly more of a health hazard (bed bugs, persistent mold, and a bathroom that was cleaned so few times in two years that you could count them on one hand ... at the time we didn't seem to mind, yet the further from it I get, the more disgusting it appears). Although, the second episode was a step-down - some plots have been dived into all-too-quickly, and some characters are feeling a tad one-note - but hopefully it's just an early wobble from which the show will recover.
SOUNDS:
AL-P "The A-Team Theme (AL-P MSTRKRFT Remix)" - as heard on the Blu-Ray menu for 2010 The A-Team movie.
M83 "Midnight City (Big Black Delta Remix)" - October will see the long-awaited release of M83's new double-album, and in advance there's a few remixes of the first single doing the rounds.
Stelvio Cipriani "La Politzia Sta A Guardare" - as featured (briefly) in Quentin Tarantino's Death Proof, I re-discovered it playing during the trailer for the Italian giallo flick What Have They Done To Your Daughters?
HIM "Deep Shadows & Brilliant Highlights" - this is the band's third album, and it takes me right back to the wintry beginnings of 2003, listening to this and their second album (Razorblade Romance) after getting back from late afternoon screenings when it was pitch black and raining outside. Some albums transport you back to very specific times in your life, and this is one such album.
Hans Zimmer "Journey To The Line" - as mentioned above regarding the season one finale of Carnivale, this haunting piece of music was created for Terrence Malick's poetic The Thin Red Line.
VIBES & FLAVOURS:
The 10th Anniversary of 9/11 - what is there to say? The event that defined the decade (and no doubt will define the century) was a shocking assault on all of mankind whether witnessing it first hand, or through the chilling footage streaming live around the world. When the event itself was unfolding I was in the final year of the Sixth Form and one of the girls from our year said, somewhat curiously, that "a plane has crashed into the World Trade Center" - naturally we all thought of the time a small plane crashed into the Empire State Building, but by the time we all got home and saw the endlessly repeating footage we realised this was something totally and horrifically different. With each passing year - and with more and more fascinating (yet terrifying) documentaries about that day - it becomes a little easier to process, while at the same time continuing to be an inconceivable horror.
GTA IV: The Ballad of Gay Tony - returning to the second DLC for Rockstar's smash hit sandboxer, and having got used to the tweaked controls featured in Red Dead Redemption, I found the controls and cover system to be at best fiddly and at worst utterly incapable (driving is something to merely get the hang of, but the cover system is awfully clunky here - however, thankfully, it was mostly improved in Red Dead Redemption). That said, I've had a ridiculous number of hours out of GTA IV (despite its faults) and I am very much looking forward to the next entry.
"Crystal Lake Memories: The Complete History of Friday the 13th" by Peter M. Bracke - I was given this last year but only got around to reading about the first two movies in the franchise before I found myself with a stack of books (as Christmas gifts) to wade through - however I returned to Bracke's vastly informative tome and it has been a stonking good read. At the time of writing I'm up to Jason X.
Allen Bridge - after a bit of a hiatus, in which I sought feedback from a select few readers, I have returned to my drama/mystery script. I've plotted a list of additions and tweaks that I want to make, but I can see that where I am currently at - heading into Draft 2.1 - is the point at which I would have arrived at last year by Draft 3.2, so I feel quite confident in that I'm learning an awful lot. Indeed I've been putting as much care and attention into this script as I possibly can. Like I've said before, I am determined to make this one count!
Homefront - there's a shed load of games coming out over the next few months that will go onto my 'to do' list, not that I'll get to many of them anytime soon if at all, but this B-Grade shooter (from the writer of Red Dawn and Apocalypse Now) isn't too bad. It's definitely not in the same league as a Call of Duty, for instance, but it presents an intriguing and scarily almost-possible bleak future where America becomes a nation occupied by a united Korea. At times it is hauntingly dark (mass graves at baseball fields, a child's parents gunned down in front of them, white phosphorous melting enemies alive, etc) and despite a number of flaws (such as a stupidly short campaign, weak protagonists, and an occasionally rough finish) it's worth a play.
Dick Figures, and ASDFmovie - these two online animated series are well worth checking out. The former has so far racked up 19 mini episodes (from the same company that gave us Happy Tree Friends), and the latter is a wonderfully silly and inventive series of mini-sketches that have - for one thing - birthed a ridiculously catchy song called "I LIKE TRAINS".
Gears of War 2 - in preparation for the third entry in the monstrously successful Xbox360 exclusive franchise, I've returned for another bash through this first sequel which was without a doubt decidedly superior to the solid first game.
Wednesday, 28 September 2011
Hextuple Bill Mini Musings: Money, Men, and Evil...
Winter's Bone:
Set amidst the harsh mid-winter woodlands of Alabama, Jennifer Lawrence plays a 17 year old charged with raising her two young siblings, looking after her ill mother, maintaining a roof over their head, and ultimately tracking down her deadbeat meth-cooking father who has skipped bail and left the family home on the line. Meandering, slowly paced, sparsely plotted, and extremely atmospheric, it might take a while to pull you in but once it does its Oscar-nominated harsh realism will keep you intrigued ... although it's not quite all you might think it's trumped up to be. Intriguing.
The Invisible Man:
I was into the likes of Frankenstein, The Wolf Man, The Mummy, and The Bridge of Frankenstein long ago (they're all wonderful and everlasting pieces of early horror cinema), but it was only relatively recently that I got around to Dracula (which I was a bit half-and-half about, to be honest) - and likewise it has taken me a while to get around to James Whale's fantastically inventive and mischievous The Invisible Man. Naturally it's quaint by today's standards, but in 1933 the practical trickery and rudimentary visual effects must have been astounding - indeed they're wonderful to behold in 2011.
The opening is chilling (and not just literally) as Claude Rains' scientist pitches up at a remote tavern seeking peace and privacy in order to discover how to reverse the effects of his own creation - a chemical that has turned him invisible and violently unstable. Packed with humour, great character actors, splendid special effects, a strong visual approach that strained against the early confines of 'sound cinema', and a surprising dark streak at times, it is no wonder that Whale's classical horror picture has become a beloved and respected genre milestone.
Wall Street: Money Never Sleeps:
Gordon Gekko is back - the devil that accidentally become the poster boy and inspirational figure for a generation of Investment Bankers - but not quite as much, and in not quite the same way, as you might expect. Although he's still a dangerously charming bastard, so some things never change. Shia LaBeouf and Carey Mulligan (an investment banker with a penchant for green fusion energy, and a lefty blogger, respectively) are the main focus of the plot that is set amongst the events leading up to and beyond the 2008 financial disaster.
Some of the money-speak gets a bit confusing (or maybe that's the point), the use of metaphors couldn't be more blunt (children blowing bubbles, for example), and certain Gekko character beats in the final act don't quite settle, but especially when compared to Stone's recent efforts (the comical but generally pointless W. and his somewhat spiritual World Trade Center) it's pretty good. It's definitely not in the same league as his iconic original - although the brash visual pace has returned with vigour - but there is a purpose behind this outing. An intriguing follow-up that fans of the 1980s original should definitely seek out.
World's Greatest Dad:
From Bobcat Goldthwait (yes, the guy from the Police Academy movies) comes this unique black comedy, featuring Robin Williams as a failed writer/teacher, who is wrapped up in a whirlwind after a tragic event occurs in his life (a moment that is delivered with chilling realism by Williams). Seeking to disguise the reason behind it, he inadvertently writes a book that gains national attention. Quirky, unique, and with a dark wit that combines the ordinary with the extraordinary, it's well worth checking out. Bonus points also for the reverence afforded to proper zombie films featuring the shambling undead.
Tucker & Dale vs Evil:
It feels like a very long time since I first heard about this flick - a horror comedy in which the grim-looking hillbillies are the bumbling good guys, not the machete wielding psychopaths, and the gaggle of fresh-faced 'teens' are deadly in their ineptitude. Alan Tudyk and Tyler Labine play the titular hillbillies who venture into the Appalachian mountains to renovate their new holiday home, only to get mixed up in a gore-ific and hilarious comedy-of-errors. One thing though - whoever cut the trailer should be slapped - they spoiled so many great moments from the flick (especially in the Red Band Trailer). So if you like the idea of the flick, avoid the trailers and just see it - I enjoyed it a lot, but I'm sure I would have enjoyed it even more if so many of the good bits hadn't been blown by the ever-so-revealing trailer.
Frankenhooker:
From the creator of Basket Case (which explains a lot) comes this utterly barmy rejigging of the Frankenstein story. A Jersey boy called Jeffrey (who spends his spare time performing self-administered brain surgery with a drill, and looking after his experiment/pet brain-with-an-eyeball-in-it creation) creates a remote controlled lawnmower that promptly hacks his girlfriend to pieces. Fortunately he's working on piecing her back together, but seeing as he's missing all but a foot, hand, and her head, he ventures across the bridge into the red light district of New York to gather just the right parts from prostitutes. Initially his plan goes explosively off-course, but he succeeds in bringing his girlfriend back to life - except she's now a monstrous Frankenhooker! It's utterly, utterly mental - perhaps almost too silly straight-off-the-bat, but after I stuck with it for a little bit it all came together and proved to be quite an enjoyable load of gory nonsense.
Set amidst the harsh mid-winter woodlands of Alabama, Jennifer Lawrence plays a 17 year old charged with raising her two young siblings, looking after her ill mother, maintaining a roof over their head, and ultimately tracking down her deadbeat meth-cooking father who has skipped bail and left the family home on the line. Meandering, slowly paced, sparsely plotted, and extremely atmospheric, it might take a while to pull you in but once it does its Oscar-nominated harsh realism will keep you intrigued ... although it's not quite all you might think it's trumped up to be. Intriguing.
The Invisible Man:
I was into the likes of Frankenstein, The Wolf Man, The Mummy, and The Bridge of Frankenstein long ago (they're all wonderful and everlasting pieces of early horror cinema), but it was only relatively recently that I got around to Dracula (which I was a bit half-and-half about, to be honest) - and likewise it has taken me a while to get around to James Whale's fantastically inventive and mischievous The Invisible Man. Naturally it's quaint by today's standards, but in 1933 the practical trickery and rudimentary visual effects must have been astounding - indeed they're wonderful to behold in 2011.
The opening is chilling (and not just literally) as Claude Rains' scientist pitches up at a remote tavern seeking peace and privacy in order to discover how to reverse the effects of his own creation - a chemical that has turned him invisible and violently unstable. Packed with humour, great character actors, splendid special effects, a strong visual approach that strained against the early confines of 'sound cinema', and a surprising dark streak at times, it is no wonder that Whale's classical horror picture has become a beloved and respected genre milestone.
Wall Street: Money Never Sleeps:
Gordon Gekko is back - the devil that accidentally become the poster boy and inspirational figure for a generation of Investment Bankers - but not quite as much, and in not quite the same way, as you might expect. Although he's still a dangerously charming bastard, so some things never change. Shia LaBeouf and Carey Mulligan (an investment banker with a penchant for green fusion energy, and a lefty blogger, respectively) are the main focus of the plot that is set amongst the events leading up to and beyond the 2008 financial disaster.
Some of the money-speak gets a bit confusing (or maybe that's the point), the use of metaphors couldn't be more blunt (children blowing bubbles, for example), and certain Gekko character beats in the final act don't quite settle, but especially when compared to Stone's recent efforts (the comical but generally pointless W. and his somewhat spiritual World Trade Center) it's pretty good. It's definitely not in the same league as his iconic original - although the brash visual pace has returned with vigour - but there is a purpose behind this outing. An intriguing follow-up that fans of the 1980s original should definitely seek out.
World's Greatest Dad:
From Bobcat Goldthwait (yes, the guy from the Police Academy movies) comes this unique black comedy, featuring Robin Williams as a failed writer/teacher, who is wrapped up in a whirlwind after a tragic event occurs in his life (a moment that is delivered with chilling realism by Williams). Seeking to disguise the reason behind it, he inadvertently writes a book that gains national attention. Quirky, unique, and with a dark wit that combines the ordinary with the extraordinary, it's well worth checking out. Bonus points also for the reverence afforded to proper zombie films featuring the shambling undead.
Tucker & Dale vs Evil:
It feels like a very long time since I first heard about this flick - a horror comedy in which the grim-looking hillbillies are the bumbling good guys, not the machete wielding psychopaths, and the gaggle of fresh-faced 'teens' are deadly in their ineptitude. Alan Tudyk and Tyler Labine play the titular hillbillies who venture into the Appalachian mountains to renovate their new holiday home, only to get mixed up in a gore-ific and hilarious comedy-of-errors. One thing though - whoever cut the trailer should be slapped - they spoiled so many great moments from the flick (especially in the Red Band Trailer). So if you like the idea of the flick, avoid the trailers and just see it - I enjoyed it a lot, but I'm sure I would have enjoyed it even more if so many of the good bits hadn't been blown by the ever-so-revealing trailer.
Frankenhooker:
From the creator of Basket Case (which explains a lot) comes this utterly barmy rejigging of the Frankenstein story. A Jersey boy called Jeffrey (who spends his spare time performing self-administered brain surgery with a drill, and looking after his experiment/pet brain-with-an-eyeball-in-it creation) creates a remote controlled lawnmower that promptly hacks his girlfriend to pieces. Fortunately he's working on piecing her back together, but seeing as he's missing all but a foot, hand, and her head, he ventures across the bridge into the red light district of New York to gather just the right parts from prostitutes. Initially his plan goes explosively off-course, but he succeeds in bringing his girlfriend back to life - except she's now a monstrous Frankenhooker! It's utterly, utterly mental - perhaps almost too silly straight-off-the-bat, but after I stuck with it for a little bit it all came together and proved to be quite an enjoyable load of gory nonsense.
Tuesday, 13 September 2011
Strip Nude For Your Killer (Andrea Bianchi, 1975) DVD Review...
Find more Shameless Screen Entertainment DVD reviews here.
It's a very real possibility that you've never heard of this mid-70s giallo flick, let alone seen it (especially if you're British), but - thanks to Shameless Screen Entertainment (in their gleefully gaudy yellow DVD cases) - you can.
The film kicks right off at the business end of an abortion that goes tragically wrong for the fashion model on the receiving end of the procedure, thus setting into motion a series of killings perpetrated by a vengeful and lithe figure adorned in black leather motorcycle gear. Everyone at the dead girl's modeling agency could be a suspect or the next victim, and with the police struggling to crack the case, it's up to a photographer and his beautiful assistant to solve the case - when they're not busy stripping off and getting steamy with each other, that is.
Packed to the rafters with bare flesh, the sexual politics are obviously well dated, but fans of beautifully photographed and skilfully directed giallo with a touch of sleaze will be in for a treat. Franco Delli Colli's photography (polished up by Shameless and presented in its original aspect ratio) mixes perfectly with Francesco Bertuccioli's scene-blendingly crisp editing, and Andrea "The Zombie Dead" Bianchi's smoothly crafted, tension-inducing direction.
Like many giallo flicks, the focus is more on beautiful images and gorgeous girls, than telling a tightly scripted narrative, but if you enjoyed the giallo movies of Dario Argento's early career (such as The Bird With The Crystal Plumage, and Deep Red) and you're wanting to branch out a bit further into the scene, then Strip Nude For Your Killer is an ideal next step for cinematic connoisseurs.
Shameless Screen Entertainment's Region Free DVD comes with a series of trailers for this and other titles in their catalogue, as well as a reversible sleeve so you can choose which lurid cover is more to your liking (both feature the same back cover, replete with 13 screenshots ... all of which have boobs in them ... for your information).
Bianchi's film is garish, gorgeous, brutal and beautiful all at the same time.
It's a very real possibility that you've never heard of this mid-70s giallo flick, let alone seen it (especially if you're British), but - thanks to Shameless Screen Entertainment (in their gleefully gaudy yellow DVD cases) - you can.
The film kicks right off at the business end of an abortion that goes tragically wrong for the fashion model on the receiving end of the procedure, thus setting into motion a series of killings perpetrated by a vengeful and lithe figure adorned in black leather motorcycle gear. Everyone at the dead girl's modeling agency could be a suspect or the next victim, and with the police struggling to crack the case, it's up to a photographer and his beautiful assistant to solve the case - when they're not busy stripping off and getting steamy with each other, that is.
Packed to the rafters with bare flesh, the sexual politics are obviously well dated, but fans of beautifully photographed and skilfully directed giallo with a touch of sleaze will be in for a treat. Franco Delli Colli's photography (polished up by Shameless and presented in its original aspect ratio) mixes perfectly with Francesco Bertuccioli's scene-blendingly crisp editing, and Andrea "The Zombie Dead" Bianchi's smoothly crafted, tension-inducing direction.
Like many giallo flicks, the focus is more on beautiful images and gorgeous girls, than telling a tightly scripted narrative, but if you enjoyed the giallo movies of Dario Argento's early career (such as The Bird With The Crystal Plumage, and Deep Red) and you're wanting to branch out a bit further into the scene, then Strip Nude For Your Killer is an ideal next step for cinematic connoisseurs.
Shameless Screen Entertainment's Region Free DVD comes with a series of trailers for this and other titles in their catalogue, as well as a reversible sleeve so you can choose which lurid cover is more to your liking (both feature the same back cover, replete with 13 screenshots ... all of which have boobs in them ... for your information).
Bianchi's film is garish, gorgeous, brutal and beautiful all at the same time.
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