Archive for the 'Horror' Category


Amer (2009)

AmerposterIt’s been said many times before, mostly because it’s true: either you give a shit about Giallo or you don’t. I’m hardly an expert on the genre, but in my dabbling I think I’ve sampled enough to know this much about myself: I wish I liked them more. They are so dang stylish and beautiful to look at, but often times the circuitous mystery plot loses my interest and I find myself appeased only by bright-colored gore, which frankly gets old after a while. It’s possible I blew my Giallo load by watching too many of them in a short period of time, causing their plots, directors and titles to get jumbled into a hot, Italian mess. But then comes along Amer, a beautiful homage to the genre that makes me want to revisit all those old movies anew.

Amer doesn’t have much of a plot to speak of; it relies much more on style to tell its tale. It is centered around Ana during three pivotal moments in each stage of her life. Each segment takes place in or around her family’s creepy, old mansion overlooking the seaside. In the first, Ana discovers her nanny/housekeeper/old-lady-who-makes-her-food is also a witch, her dead grandfather maybe isn’t so dead, and her parents having sex. In the second, the adolescent Ana (and her jealous mother) are painfully aware of her budding sexuality, and a trip into town turns into a clear rape threat as her

It seems as though someone is always watching Ana.

It seems as though someone is always watching Ana.

flirting with a boy her own age drags her into the territory of some leather-bound bikers who can’t help but lick their chops as the wind creeps up Ana’s very short dress. In the final sequence, Ana returns home to the now-dilapidated mansion, presumably after her parents have passed away. The taxi driver who drives her there ogles her through the rear-view mirror, and Ana seems both excited and distraught by the palpable sexuality in the vehicle.

Though there isn’t really a plot, Amer is compelling and intriguing throughout. There is barely any dialogue, and so we are guessing at each character’s motivations, fears and desires, which is a large part of the fun, and kept me engaged and excited for each new turn. The film’s directors Hélène Cattet and Bruno Forzani pull out all the stops, nodding to every genre convention you can possibly

Adolescent Ana

Adolescent Ana

imagine, straight down to a score loaded with tracks from old Italian films. Even still, the tale they present here is more interesting than any Giallo I can ever remember seeing, and though a story of a vaguely threatened woman is not at all original, presenting it within the confines of this genre works really well. Nearly every scene oozes eroticism and about as much sexual suggestion as a Georgia O’Keefe painting, but there is very little sex or nudity; instead we are faced mostly with voyeurism and fluids that aren’t bodily, but may as well be.

I can imagine watching this film with no background in Giallo and finding myself very confused indeed! But I think the reason why I liked this film so much is because it

Adult Ana

Adult Ana

takes everything I like about Gialli and eschews the confusing plot, allowing the viewer to focus on the interior of the main character rather than a million plot threads and unnecessary characters. I suppose the real question is, though, can someone go into this movie with no knowledge of such films and still enjoy it? I think the answer is yes, with many, many qualifications. Most notably, don’t watch this if you’re really interested in a story. While, yes, there is a story here, I can imagine a great many folks saying nothing happened in this movie at all. Anyway, what story there is definitely plays second fiddle to the images that tell it. In fact, I’m certain Cattet and Forzani chose this subject matter because it lends itself so well to such imagery. If nothing else, Amer is a beautifully crafted film; that much can’t be denied. Personally, I think it’s worth watching for that reason alone. Bottom line: Cattet and Forzani know what they are doing, and I don’t think they care if you like it or not. Me? I love it.


Innocent Blood (1992)

innocentbloodposterThere is a lot of danger out in the world for poor old saps like Q and myself who still prefer to own physical media over its digital counterpart. The sloughing off of someone else’s excess assures the bloat of our own, from used media stores who dare to charge $7 for discarded DVDs to thrift stores who offer up videocassettes at 25 cents a pop, the world of garbage is our delicious oyster. I guess it goes both ways, though: there is some measure of relief knowing that, after watching a particularly underwhelming feature, we can take it somewhere and turn it into new-to-us gold! After dumping 20-or-so shitty flicks and getting a pretty penny in store credit, my ability and desire to discern a worthy purchase from a shitty gamble goes out the window, and the stack we take home often times ends up larger than the one we ditched! First-world hoarder problems, I suppose, but this is all the long way ’round to explaining why we ended up with a copy of John Landis’ Innocent Blood. The cover looked promising, and while Landis has his ups and downs, I thought for sure a vampire flick set in my former home of Pittsburgh was a shoe-in for a keeper.

Watch out boy, she'll chew you up.

Watch out boy, she’ll chew you up.

The film follows a charming French vampire named Marie (Anne Parillaud, also known as that chick from La Femme Nikita), who skulks around the seedier parts of Pittsburgh hoping to feed on the flesh of the evil mobsters who’ve made it their playground. See, Marie doesn’t believe in killing innocent humans, it’s the devils she’s after. When she happens upon local gangster Tony (Chazz Palminteri) she’s relieved to have found herself a meal for the night, and we get a glimpse into her rules: never leave evidence, and never make the mistake of allowing them to come back as vampires. After a long awaited feast, she cleanly takes care of Tony by blowing his head off by a shotgun.

Having acquired a taste for this particular type of wise guy, Marie sets her sights on the top of the food chain: the number one mob boss in all of Pittsburgh, Salvatore “The Shark” Macelli (Robert Loggia). Unfortunately, his taste for garlicky mussels throws her off her game and she doesn’t quite get the chance to finish him up. Leaving him for ‘dead,’ Marie flees the scene, and its aftermath sure confuses the shit out of undercover cop Joe (Anthony LaPaglia). It seems a blessing in disguise that all the mobsters he’s trying to nail are getting picked off, but he can’t shake the feeling that something supernatural is going on here; I mean, why are there bodies nearly completely drained of blood?

Frank Oz is greeted by quite a surprising corpse.

Frank Oz is greeted by quite a surprising corpse.

Marie’s carelessness with Macelli’s body of course turns into a boon for the mob: his re-animated corpse is seemingly indestructible! Being the opportunist most mob bosses are, he realizes the cops will be no match for him and his crew if they’re all turned into bloodsucking monsters. Now it’s up to Joe and Marie (oh yeah, somewhere along the way they met, fought, made-up and banged) to save the ‘Burgh from the undead.

Somehow, all of Innocent Blood‘s potential just never adds up to a very good movie. Sure, there are some moments that are slightly amusing, but for a film that wants much more to be comedy than horror, it’s never quite funny enough. The jokes just fall a little (or a lot) flat, and I can’t put the blame on the actors; I really think it is due to lackluster writing. Ultimately it’s rather a shame; I wanted very much to like this movie, but it was just… so… anemic.

Sam Raimi and a chicken bone.

Sam Raimi and a chicken bone.

There were times during (and even after) watching Innocent Blood that I thought it might be worth keeping in our collection. After all, genre cameos abound: Frank Oz, Sam Raimi, Dario Argento, Tom Savini and even Forry Ackerman all make appearances. Though they’re delightful, they’re not enough to make the film worthwhile. It seems that lame jokes, a star-studded cast and unimpressive computer-generated special effects don’t make a very good movie. I did find myself thinking this might actually be a good candidate for a reboot: a nice make-over by the right people could bring this plot line to its full potential. As it is, I can’t say I recommend it.


Screamtime (1986)

Note: Hi! This is Mike Q, and I’m not the one who usually writes here. I got this guest-spot because Katy’s fallen behind in writing up movies of late, so I’ve been called in to do some of the titles she doesn’t especially want to deal with.

In the aftermath 0f 31 Days of Horror, we’ve continued to watch horror movies. We were getting a bit wary of the pre-determined pile we’d set aside, though, so we turned to Netflix, where we found Screamtime, an ’80s horror anthology.

sc3Apparently, Screamtime was made in 1983 as a British/American co-production, but not released until 1986. Also, apparently, one of the anthology segments dates back to 1981. It’s hard to imagine that a 1986 audience would have seen much appeal in material that seems to have already passed its expiration date as cash-in cultural ephemera; this screams out as a Night Train to Terror-esque effort to just dump some already-canned footage on the market. From 2014, though, its generically, amorphously  1980s aesthetics seem charmingly “period” rather than glaringly, unfasionably just-out-of-date. All said, though, there’s nothing here that’s better than a middling episode of Tales From the Darkside.

The frame story is set in the pre-Giuliani/Disney grimey New York City, where a pair of ne’er-do-wells shoplift some horror titles from a video store for an afternoon’s jollies, and then take them to a friend’s house to watch. The friend is a shapely lady, who we first find in the shower… Screamtime puts its skin in the first few moments, in the hopes that it won’t immediately lose its audience–seldom a promising tactic. Unlike the frame, which screams its “Noo Yawk” American-ness, the shorts themselves are all decidely British. The first segment concerns a beleaguered puppeteer who has no support from his wife, and is actively terrorized by his bratty teenage stepson. After the boy burns down his stepfather’s puppet stand, the Punch puppet begins to dispatch his master’s enemies… Next, a newlywed couple moves into a house, but the wife has increasingly gruesome hallucinations that no one seems to understand… Finally, in what is simultaneously the most delightful and most conceptually negligent segment, another band of ne’er-do-wells (this time, they’re motorcross enthusiasts) decide to rob a pair of old ladies who claim their great wealth is protected by fairies (and garden gnomes). The pleasures come there more or less exactly as you’d expect (though, sadly, if you connected the dots to gnomes on motorbikes as I iniitally did, you may be disappointed). The closing of the frame story was just as easy, but all the more delightful for it.

The belle of the ball here (aside from the climax of the fairy/gnome story) is the short bit at the beginning in the video store — having recently watched the documentaries Be Kind Rewind and Video Nasties, it was nice to see the Wild West-inside of a 1980s video store as though it was no big deal, and to have the shorts presented herein as though they were, in fact, in-story the fly-by-night cheapies that they really were. There was a clear implication that the filmmakers saw their prospective audience as the slimeballs they showed watching the stuff — the lowest denominator they could imagine. While I admire the honesty, if you’re in the mood for a lovably schlocky ’80s horror anthology, you’d be better served by Deadtime Stories or even the aforementioned Night Train to Terror than by what’s offered here.


Blood Car (2007)

There is a great and varied selection of films that start with the word Blood. Some are drama films, like Blood Diamond or Blood Simple. Others still are nothing but muscle, like Bloodsport. More often than not, though, a film starting with blood is pretty likely to be a horror movie. And even more often still, it’s probably a shitty horror movie: Blood and DonutsBlood Diner, and Blood Feast immediately come to mind. I am happy to add Blood Car to the latter list: it is indeed a shitty horror-comedy that delivers just about what you’d expect; a movie about a car that runs on blood.


There’s always wheat grass aplenty at the Veg-Table!

Sometime in the very near future, gas prices have sky-rocketed to $50/gal. No one can afford to drive anymore, but there’s a young man out there who’s trying his darndest to change all that! Meet Archie (Mike Brune), a proud vegan pacifist who teaches elementary school by day and works tirelessly on his wheat grass car engine by night. He is a faithful customer of the Veg-Table, a vegan stand in an empty parking lot (because all parking lots are empty, get it?) specializing in wheat grass and other crunchy goodies. Lorraine (Anna Chlumsky) runs the stand and has a devastating crush on Archie, but he’s so focused on his engine he either doesn’t notice or doesn’t care. Either way, Lorraine always enthusiastically asks Archie how his engine is coming along, and the answer is usually a half-hearted ‘harumph.’


Denise. Meat. Flesh. Desire.

Lorraine isn’t the only one monitoring Archie’s success: we get an occasional glimpse of FBI Agents who are keeping close watch on Archie’s progress. They’ll be ready to pounce as soon as his engine starts showing some positive results; after all, who could be more interested in an alternative energy source than the American government? Though his efforts have thus far been largely unsuccessful, Archie tirelessly pushes forward. One night while working feverishly to make his engine work, he accidentally cuts himself, and his spilled blood makes it into his wheat grass mixture. Right away, the engine starts working; it seems blood was the missing element all along! Archie feels an enormous rush of success when he starts up his car and drives it to the Veg-Table to pick up some more wheat grass. But when he gets there he sees Lorraine has some competition: a painted whore named Denise has opened up a stand right across from the Veg-Table, simply called MEAT. Denise doesn’t give a crap about Archie’s ideals, morals or politics, she just likes riding cars and will put out to no end just to be a passenger. Now Archie knows he needs a constant supply of blood to keep his new girlfriend interested, but how can this vegan pacifist reconcile his desire for fame and sex with his reverence for all living things?


Lorraine (Anna Chlumsky) is so excited to finally be alone with Archie!

Blood Car is definitely one of the most irreverent and offensive movies I’ve ever seen. It’s loaded with bare breasts, curse words, blood, guts and violence against children: in short, don’t watch it with mom and dad. Fortunately, it is also rather smart, and that’s what makes it a movie worth seeing. Without its intelligence it would be easy to pop this movie into the Troma-esque category of purposeless trash. Unlike so many of the Troma trash films I’ve seen that have nothing to say, Blood Car obviously has very strong opinions and is unabashed about sharing them with its audience.


Archie begins to lose it.

What I like most about Blood Car is Archie’s transformation. It is easy for a person to tout their ideals and display them loudly to the world, and Archie is no different. He wears his political beliefs on his shirts, one day loudly exclaiming his veganism and the next assuring us that dolphins have feelings, too. All the while though, Archie is completely disinterested in the Lorraine, the woman who shares his politics 100%, and instead runs wild with Denise the pure-id MEAT girl. Worse still, of course, is Archie’s thirst for blood. Early on in the film we see him roaming around town with a baseball bat, weeping as he murders small dogs and wild animals to harvest their blood. Later on, after Archie’s murders have moved into the human realm, he stuffs his face with meat while crying “I’m a vegan! I’m a vegan,” like a loud vegetarian who still wears leather. At the very end, Archie’s hypocrisy reaches its pinnacle when (spoiler alert) he agrees to sell his engine to the US Government, knowing full well all of his friends will likely become victims used to feed his thirsty cars.

The biggest problem with Blood Car, aside from its sometimes too-irreverent irreverence, is it kind of flags a little towards the end. It could probably safely shave 20 or so minutes off of its running time and greatly improve its audience’s overall experience without losing any of its punch. And, if you ask me, its punch is all in its display of the idealist losing sight of his ideals. When your identity is so wrapped up in your politics, what happens when you abandon them?


Isolation (2005)

Nice guy Dan gets down and dirty with his livestock.

Nice guy Dan gets down and dirty with his livestock.

The yearlong abandonment of my Netflix queue has resulted in yet another surprise disc in the mail. I don’t remember putting Isolation in the queue, but I know for a fact I did so absolutely blindly; I’d never heard of the movie before or since, but surely it ended up on the list due to the phrases “bovine fertility” and “genetic study” in the film’s synopsis.

Dan is a broke-ass farmer who sold his livestock to the whims of a genetics company. He doesn’t know the nature of their experiments, really, but John, the scientist behind the operation, assures him it won’t cause his farm any trouble. Orla (Essie Davis), Dan’s veterinarian (and former lover, it would seem) is also in bed with the genetics corporation, and has reason to be suspicious the company’s experiments might not be as harmless as they’d like everyone to think. On top of keeping the true nature of the genetic experimentation secret, the company has made Dan promise to keep his farm isolated from strangers. The secrecy has yet to pay off, however: neither Orla nor Dan have been paid for their part in the experiments.

When one of Dan’s cows is about to give birth, Dan tries his damndest to aid the animal in the process. Unfortunately, the calf is far too large for it to come out naturally, but because Dan’s way behind on his phone bills, he can’t call Orla and must solicit the help of some guy named Jamie who is squatting on his property in a trailer hiding from his lover’s brothers, or something, to help him jerk the calf out of the cow. Needless to say, the Calf is fucked up in all sorts of ways,

Orla (Essie Davis) investigates a nasty situation.

Orla (Essie Davis) investigates a nasty situation.

and when Orla finally makes it to the farm (women’s intuition, I guess?) she discovers the calf was actually pregnant with six babies! Seems the geneticist’s interest in farm efficiency was taken just a little too far. Anyway, one of the calf’s calves not only bites the shit out of Dan and Orla, but also escapes. John believes it can cause a great illness and plans to quarantine the farm, and then you know, the search for freak baby calf thing is on.

Isolation isn’t a terrible movie, and it’s not a great movie. I guess that really just makes it unremarkable. I knew within the first fifteen minutes that it was going to be filled with a bunch of relationship drama that I didn’t care about, and it was, and that detracted a great deal from the film. Dealing with a large corporation’s big scientific secrets and inability or unwillingness to pay those involved sure sounded like a great opportunity for meaningful social commentary. Unfortunately it is totally squandered here, and really has little to say except the usual don’t-fuck-with-mother-nature-or-else-your-farm-will-be-destroyed-and-you-might-have-a-deformed-and-infected-baby. There’s just no complexity or surprise to it at all. Even the parts that are centered around relationship drama that could have been exploited to further our distaste for the corporation at hand here aren’t highlighted at all – like, what was the point of having the couple squatting on the farm? To prove that Dan is a nice

Squatter Jamie doesn't like what he sees.

Squatter Jamie doesn’t like what he sees.

guy? To make that cop that shows up that one time look like a jerk? Maybe, but to what end? All these could be achieved through other means. Honestly, it really seems like nothing more than a dangling, pointless plot line. Same goes for Dan and Orla’s former relationship: okay, they used to screw, now what? Now nothing, it seems. Some pre-fucking sexual tension would have served us better.

On the upside, the acting is all right; no complaints there, though I wouldn’t nominate anyone for any awards or anything. By far the best parts of the movie are those where the practical special effects are featured. There’s definitely tons of gory opportunities, and it feels like any lofty ideas about damning the man were eschewed in favor of grossing out the audience. Which I guess is fine, but only because the effects are actually good. Still, I’d rather watch a movie with more to say and shittier effects than one with great effects and nothing to say. So, if mother nature gone bad is what you’re looking for, there are much better movies around than this one! I can think of two that we watched just recently that far outshine this one. First there’s Bats, which isn’t amazing by any stretch of the imagination, but is slightly more interesting and definitely far more entertaining. There’s also Kingdom of the Spiders, which is a super fun time that didn’t rely on special effects geniuses, to be sure. I’d definitely say give those a try over this one any day.


The Texas Chain Saw Massacre (1974)

texaschainsawposterDuring a recent trip to Seattle we hit up the EMP Museum, which offers exhibits exploring modern popular culture. There’s a pretty decent section of the museum dedicated to horror films, and it probably comes as no surprise that was my favorite part. While I don’t usually find myself interested in watching videos at museums, there were little nooks dedicated to particular films and their impact on the genre. One such nook was dedicated to The Texas Chain Saw Massacre, and the talking heads did a good enough job lauding the film that Q, not being a fan at all of the film the first time he saw it, was convinced he should give it another go. When our local midnight movie venue played it last weekend, we cautiously bought our tickets.

Surely the story is not new to you: wheelchair-bound Franklin and his sister Sally Hardesty (Marilyn Burns) travel to a small country town in Texas to make sure their grandfather’s corpse is intact after they hear news of a rash grave-robbings. Franklin and Sally brought a few friends along, because what’s more fun than going to a remote town in Texas in the sweltering summer heat to confirm your granddaddy’s corpse is where it should be? On their way back home, the group makes the mistake of picking up a very strange hitchhiker. After doing some creepy shit, dude cuts himself and freaks everyone out. They scramble to kick the guy out of their van and head towards a gas station so they can fuel up and get the hell out of Dodge.

But, oh no! The gas station manager informs the youthful group that he ain’t got no gas: his supply truck hasn’t arrived yet. He advises them they should gnaw on some of his delicious barbecue while waiting for the gas guy to show up. Franklin instead thinks it would be better to check out grandpa’s old place down the road, maybe hit up that watering hole and cool off while they’re waiting for the gas. The station manager doesn’t think it’s such a great idea for the kids to go out that way, especially not those pretty little ladies, but two spooky weirdos isn’t enough to scare these kids away from checking out a dilapidated old house down the road even though they’re running low on gas so they throw caution to the wind and head towards the old Hardesty place.

There is no escaping Leatherface.

There is no escaping Leatherface.

The old house doesn’t offer much entertainment; some animal skeletons, some peeling wallpaper but not much else, so the lovey-dovey couple Kirk & Pam head off to find this famed watering hole. Find it they do, but unfortunately it’s long dried up. In the distance, Kirk can see a house with a generator, maybe that’s a great place to ask if they have any gasoline to spare! Pam is not so hot on the idea, especially when Kirk finds a tooth on the front porch! But Kirk is insistent. Finally he just walks in the door, only to be greeted by a chainsaw-wielding, skin-mask-wearing maniac. It’s all downhill from here.

Holy shit, this is one effective mother-fuckin’ horror movie. Its impact on the genre probably can’t be overstated, and after seeing it again (and on the big screen, yowza) it’s obvious why. Pretty sure I walked out of the theater saying it is the scariest movie I’ve ever seen. I’m not just talking about pop-up, jumpy scares, I mean it is legitimately frightening. It is filmed on a very small budget, but it doesn’t suffer a lick from it – in fact, its cheapness only adds to the seedy, skeevy, sweaty, greasy feeling this movie leaves all over its audience. The thought of a guy wearing a skin mask chasing you with a chainsaw is pretty scary in itself, but the atmosphere Tobe Hooper manages to create with this film turns everything up to eleven.


This is pretty much how I felt when the movie was over, too.

On top of that, the acting is, somehow, totally believable. These characters do some really ridiculously stupid things, but never enough to really remove me from the action of the movie. Marilyn Burns screams her fucking head off probably for ten minutes straight, and it is totally convincing. Speaking of screams, the talking heads at EMP went on and on about how audio really helped make this movie successful in achieving its horrific goals, and I have to agree. The music is fucking creepy as all hell, screechy and unsettling. That coupled with the seemingly never-ending roar of Leatherface’s chainsaw was immensely unnerving.

The Texas Chain Saw Massacre is without a doubt one of the most unsettling and horrifying films I’ve ever seen. That being said, I think I actually really, really disliked it. There was a time in my life where Ienjoyed witnessing the power of horror film in action and relished being the victim of a horror director’s sick and twisted whims. It was this time in my life that I first saw this movie, which would explain my previous five-star rating of the film. But I think that time is now over, and instead of enjoying my time with Leatherface & Co., I felt terribly, uncomfortably implicated in a torture-session of epic proportions. That of course speaks volumes to the film’s success; it definitely achieved what it set out to do, I guess that is just a game I am far more wary of playing now than I was in my younger years.

On our way home, Q and I discussed whether or not The Texas Chain Saw Massacre is a film either of us would recommend to the horror-curious. Being that the film laid the groundwork for many slasher flicks to come, I would feel like not having seen it would be a big, gaping hole in your horror-film merit badge collection. At the same time, I couldn’t rightly recommend it without fair warning. Proceed with extreme caution: watch only if you are prepared for an hour and a half of relentless sickness, torture, noise, horror and pain!


Fascination (1979)

Okay friends, this is it, the last post for this year’s 31 Days of Horror! Hey, it’s only a few weeks late, could’ve been worse, right? Our 31st horror pick for this year’s set is Jean Rollin’s Fascination. It should surprise no one acquainted with Rollin’s filmography it’s an erotic lesbian vampire thriller thing, with a whole lot of really good-looking scenes (and women) and a lot of shrugged shoulders as far as plot is concerned.

The movie starts off in an abattoir. Two genteel ladies are told consuming fresh ox blood will be good for their health. Though hesitant at first, the ladies eventually come to appreciate the refreshing tonic. But we’ll get back to that in a bit: first, let’s meet Marc.

Marc: bewildered, intrigued... fascinated?

Marc: bewildered, intrigued… fascinated?

Marc is a petty thief. He made a deal with a band of other petty thieves to do some petty thieving, but ended up stealing all the loot for himself. After unsuccessfully taking one of the other thieves hostage, Marc ducks into a seemingly empty château in hopes of hiding from them until sunset, when he can escape under the cover of night. Marc quickly learns the château isn’t empty at all: two ladies-in-waiting, Eva and Elizabeth, are preparing the place for the owners to return. And by preparing the place, I mean playing with knives and running around naked and stuff.

Eva and Elizabeth... so pretty!

Eva and Elizabeth… so pretty!

Marc tries to scare the ladies into submission, but it seems they’re more turned on than scared. So like any red-blooded French thief, Marc goes with the flow. Elizabeth is more than happy to submit to his whims, but Eva seems genuinely taken with the man. The two keep warning him that at midnight, death herself will arrive. Marc is nothing but amused by this, and he decides to hang around and see what all the fuss is about.

Definitely the most striking image from the Fascination.

Definitely the most striking image from the Fascination.

Right on cue, a bevy of sexy ladies show up! Marc doesn’t know exactly what kind of club he’s found himself surrounded by, but it seems like he’s hit the jackpot! You and I of course might suspect this meeting might have something to do with the abattoir from the beginning of the film. Sure enough, turns out these ladies are thirsty for human blood, and Marc is the right prey at the right time for them to feast upon. But things are complicated by Eva’s genuine feelings for him: will she betray her coven of witches to save his life?

Things didn't end well for this pretty little lady thief.

Things didn’t end well for this pretty little lady thief.

Fascination is one pretty picture after another; I took so many stills from it and wish I could use them all. It just looks absolutely beautiful. The plot is sort of interesting, I suppose, but I didn’t really care whether or not Marc survives, or what becomes of his relationship with either lady, or what these mysterious women actually plan on doing to him or each-other. I cared more about what they were wearing (or not wearing, I guess). This movie, like other Rollin movies I’ve seen, is all about style. If Fascination has something to say, I’m not sure at all what it is.

Sexy ladies in see-through nighties meet up for an annual blood-sucking party? Who wouldn't want to see this?

Sexy ladies in see-through nighties meet up for an annual blood-sucking party? Who wouldn’t want to see this?

I will admit to having fallen asleep to Rollin’s Rape of the Vampire, so I can’t make a legitimate comparison between the two films except to say Fascination kept the plot moving along enough to keep me awake! Aside from those two, the only other Rollin I’d seen was Living Dead Girl, which I remember digging a whole hell of a lot but it’s been too long now to make a real call about it. Suffice it to say Fascination was good enough to get me pumped for watching the other Rollin we have in our collection, and I think it’s probably a safe starting point for anyone who’s down with sexy French lesbian vampires with very flimsy excuses for being nude.

We’re facebook likable! Come on, you know you want to.


Old Wave


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