Sentences with phrase «italian giallo»

The original soundtrack was composed and performed by indie rock band Kovalski, whose sound is not only influenced by»70s orchestral rock and Italian Giallo soundtracks but «intensely linked» to Dead Synchronicity: Tomorrow Comes Today's plot and art style.

At the height of the Italian giallo boom in the early 1970s, scores of filmmakers turned their hand to crafting their own unique takes on these lurid murder - mystery thrillers.

Deepening and amplifying their super-fetishistic remix of Italian giallo and horror tropes in Amer (ND / NF 2010), Helene Cattet and Bruno Forzani here create a delirious and increasingly baroque pastiche of the trance film and cinema fantastique — and then push it to breaking point.

A dazzling, disturbing delight that borrows liberally from Hollywood genre cinema, Italian giallo, Paul Schrader's Cat People, and straight up horror (including the appropriation of the word «demon», up until now more readily associated with B - movie chillers), it is also nastily unique — a beautiful nightmare that will wrong - foot you right to the end.

Pretty standard, Twin Peaks fans, I know, but there is something about this Italian giallo that makes it more than just your usual fair.

Bringing with her name and presence the aura of Italian giallo cinema, Asia Argento adds both dignity and pathos to the often thankless role of femme fatale.

Tarantino's favorite record crates to pull from are 1960s - 70s Italian giallo (slasher) films, blaxploitation flicks, American b - movies and spaghetti Westerns.

What is an Italian giallo film?

On the heels of Suspiria and Inferno, Argento released one such gem, Tenebrae (or Tenebre, if you prefer) in 1982, an Italian Giallo film that most consider to be one of his best.

Deep Red: Limited Edition (Blu - ray) Details: 1975, Arrow Video Rated: Not rated The lowdown: Another Italian giallo feature from Dario Argento, that nation's master of the macabre.

A British sound designer (Toby Jones, perfectly cast) takes a job on an Italian giallo, and it isn't long before the low - rent horror movie starts messing with his mind.

Peter Strickland's claustrophobic homage to the Italian giallo — in which diabolical dismemberings are perpetrated upon female innocents - would seem an odd leap from Katalin Varga, his brooding revenge drama set in rural Romania.

The new audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films, serves as an efficient one - stop shop for fans looking to brush up on the history of the film's genesis.

He draws his inspiration from the 80's culture with, on the one hand, SF and Horror movies (Blade Runner, Halloween, The Thing), and on the other, the 70's with the italian Giallos of Dario Argento and the dark era of pop - occult culture that ensues.

Known for their high anxiety and buckets of blood, the Italian giallos of the Sixties and Seventies gave us heinous horror, drenched in style.

Not good art because they seldom have anything to say about the society that spawned them (and because the directors of these messes are generally assclowns) and not good travelogues, either, what these little straight - to - home penny dreadfuls tend to be are tired variations on the same quasi-Christian mythos, tarted up with surprisingly good production values and the kind of cheap thrills that kept EC Comics, then Hammer Films, then Italian giallos, in business.

Not exact matches

Written and directed by Michele Soavi of Cemetery Man (1994) and The Church (1989) fame, this documentary from 1985 takes an in - depth look at Dario Argento, the master Italian director most well known for his «giallo» horror films.

Giallo («yellow» in Italian, referencing pulpy yellow - covered crime books) films, which emerged in Italy during the 1960s, are narratively akin to thrillers, often centred on crime, murder, paranoia and powerful sexuality.

Dario Argento was the master choreographer of the distinctly Italian art of horror known as giallo, was a baroque, often sadistic kind of slasher movie that favors intricately - designed murder sequences and aesthetic beauty over logic.

«Giallo» (from the Italian for «yellow») is a style of filmmaking that mixes...

Italian horror did not begin and end with giallo, but it certainly put the genre on the map and influenced the direction of Italian horror (as well as, among others, Spanish and French horror) for decades.

A painter and cinematographer turned director, a craftsman turned celluloid dreamer, an industry veteran who created, almost single - handedly, the uniquely Italian genre of baroque horror known as «giallo,» he directed the most graceful and deliriously mad horror films of the 1960s and early 1970s.

The Bird With the Crystal Plumage Blu - ray (1970 — Italy) In 1970, young first - time director Dario Argento made his indelible mark on Italian cinema with «The Bird with the Crystal Plumage,» a film that redefined the «giallo» genre of murder - mystery thrillers and catapulted him to international stardom.

Giallo is a term which is often disputed on in regards to what it truly is, but basically it's an Italian murder - mystery thriller.

Though the genre's invention (named after the yellow / giallo covers of Italian penny dreadfuls) is credited to compatriot Mario Bava (see, especially, his astonishing Blood and Black Lace), Argento's scary polish and cunning for film language bridged the cultural, mainstream / arthouse gap with agility and audacity.

Today marks the birthday of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «giallo» horror genre (although he created works ranging from spaghetti westerns to science fiction films as well).

Today marks the birthday of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «giallo» horror genre (although he created works ranging from spaghetti westerns to science fiction...

Keaton, the grand - niece of silent film icon Buster Keaton, had previously appeared in six «giallo» Italian horror movies.

As one colleague points out, however, SUSPIRIA is straight Italian horror and not Giallo (Italian for «yellow», so named for the inexpensive pulp stock that dimestore novels were printed on).

If you're a giallo newbie and you're looking for a starting point into the world of wildly violent Italian horror films, seek out Dario Argento's disconcertingly beautiful Suspiria.

The second feature by British writer / director Peter Strickland, Berberian Sound Studio is named after the film's setting: a fictional Italian post-production studio doing the post-synched audio recording for a particularly nasty 1976 giallo film titled The Equestrian Vortex.

The UK's Shameless Films seem to have a particular fondness for the torture and torment of Italian film siren Edwige Fenech at the hands of giallo legend Sergio Martino; but then again, I can't really blame them.

Make room in your life for the wild, rapturously retro movies of Belgium's Hélène Cattet and Bruno Forzani, a duo that worships at the altar of unhinged»60s Italian Westerns and black - gloved giallo thrillers.

FrightFest has seen several attempts by Italian directors to revive their nation's giallo subgenre, but the broad pastiche of Dario Argento's Giallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plgiallo subgenre, but the broad pastiche of Dario Argento's Giallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plGiallo and Federico Zampaglione's Tulpa merely elicited derisive guffaws from audiences knowing enough to see the turkeys beneath all the crystal plumage.

The Bird With the Crystal Plumage Details: 1970, Arrow Video Rated: Unrated The lowdown: Dario Argento made his directorial debut with this «giallo» genre thriller that brought the Italian filmmaker to the attention of the international cinema community.

Am not sure about the ending seemed more of a nod to Italian «giallo» genre but brave all the same.

As seemed to be the convention for Italian thrillers for the next twenty years, Bava had an American actor playing the love interest who may or may not be involved in a crime that veers, at the film's precise midpoint, towards a series of implausible, ridiculous twists endemic of a standard giallo.

A paranoid drama about an English sound editor and Foley artist out of his depth on an Italian horror production, this was at once a fractured narrative of mental breakdown, a treatise on screen sound's address to the psyche, an inquiry into extreme violence and its effects on the viewer / listener, and a fanboy tribute to the thematic and stylistic excess of the Seventies giallo school.

The New York Ripper's main claim to fame is its reputation as a sadistic, gory, and generally misogynist giallo — the Italian term referring to a combination of the crime and horror genres (basically a whodunit with slasher elements) that became popular in the 1960s and endured through the 1970s.

«Amer» is both tribute to and feature - length emulation of the giallo, the Italian brand of feverish psychosexual horror mystery suspense that originated in the»60s and is associated preeminently with Mario Bava and Dario Argento.

Bava made dozens of films in the sixties and seventies as a director, writer and cinematographer, helping to launch the «giallo» genre of Italian cinema and re-inventing the slasher film.

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