r the old gadget-toting, quip-firing Bond of old. Now, we have a leaner, meaner animal and also encounter a more personal view of the life of a very special secret agent. Those of you who enjoyed CASINO ROYALE are not guaranteed to rate this latest film as highly but you'd be well advised to give your CR DVD another spin before venturing out to see QUANTUM OF SOLACE. Watch out for Olga Kurylenko's street fightin' Bond girl; a beautifully edited opera scene; some white knuckle combat on collapsing scaffolding, and a topical tip of the hat to GOLDFINGER. 
competitors. Naschy in particular, has never received the acclaim he deserves, yet his Waldemar Daninski is surely one of the most tragic figures in recent genre history: a werewolf doomed to live forever unless he is killed by the woman who truly loves him. Naschy's performance vivdly conveys a tortured existence and if he proves to be the pick of the bunch here, Paty Shepard's vampiric countess also scores highly. Although some 86 minutes pass before Wandesa utters her first line of dialogue, an intensely physical performance from Shepard ensures Wandesa dominates every scene she's in. There's a real love affair with the camera going on here - echoing the extraordinary visual appeal of Soledad Miranda and Barbara Steele - turning Shepard into a seductive black angel of death.Klimovsky, clearly relishing the talents of his two main players, delivers a mostly successful slice of horror hokum. Cliched it may be, but WEREWOLF SHADOW is a delicious mixture of vampire and lycanthropic folk lore, only losing a few points during the final act when Elvira's friend Marcel (Andres Fuerno) arrives, slowing things down somewhat in his role as police inspector.Anchor Bay's Region 2 DVD (identical to its American cousin) offers a spanking print taken from original vault materials. Interior and 
exterior scenes are usually sharp, with bold, undistorted colours and excellent shadow detail during numerous night scenes.The disc jacket proudly declares this is the first time WEREWOLF SHADOW has been available uncut, although those scenes involving sex and violence are by no means as graphic as legend may suggest; indeed, this film could easily play intact on late night TV.Anchor Bay has included a theatrical trailer, a splendid Naschy bio (penned by Mark Wickum) and a poster gallery with some terrific artwork for Naschy films, including THE PEOPLE WHO OWN THE DARK, FURY OF THE WOLFMAN and SCHOOL KILLER. Best of all, however, is a 15 minute Naschy interview where the man himself reveals how he came to play Waldemar; why the character was Polish, rather than Spanish, and the title of the film that inspired him to spend his life in movies.Naschy also discusses censorship, offers anecdotal memories of WEREWOLF SHADOW and holds forth on his friendship with, and admiration for, Leon Klimovsky (as well as highlighting a perceived weakness in Klimovsky's directorial style).It's the sort of featurette that makes DVD such a rewarding medium, and rounds off an essential purchase for followers of Spanish horror cinema. 
of Silvia Hacherman (Mimsy Farmer); a chemist who finds her life is slowly turning upside down. When the subject of witchcraft is raised during a late-evening conversation ("A fear which has many names"), Hacherman begins a downwards spiral, where off-kilter sights and sounds propel her to the doorway of madness. An unstable relationship with her boyfriend ( Maurizio Bonuglia) underlines her profound insecurity, and his own abode is where Silvia experiences a terrifying vision: a scene which gave director Francesco Barilli his title for this highly-regarded film.Hacherman's personal twilight zone is littered with remnants from the past and present-day menace, perpetuated by people who are still very much alive: a psychic's account of Silvia's father's death; unnerving re-enactments drawn from her formative years; bloody acts of murder which may or may not be set in reality, and the presence of a Mario Bava-esque ghost child who plays an eerie music box melody ("What do you want it for? You're too old!") all combine to spin a terrifying web of conspiracy, with the dark arts casting the blackest of shadows over proceedings.Until now, the majority of Italian horror buffs had only encountered this film via grainy bootleg videos. Now, thanks to Italy's Raro Video, The
Perfume Of The Lady In Black can be enjoyed and appreciated in an eye-popping 16:9 transfer. Here, Mario Masini's sumptuous photography comes alive, with vibrant primary colours elevating this film to a standard of visual design that matches the likes of Bava and Argento. While dialogue is not always easy to discern, Nicola Piovani's score encounters no problems regarding lack of clarity, and perfectly compliments Barilli's vivid brushstrokes. Full marks to Raro, who also dish up an appetizing 23 minute featurette: 'Portrait In Black' features Barilli - still full of enthusiasm for his film - who recalls Perfume was shot in 8 weeks; that his original idea for a screenplay received a less-than positive reaction, and how he decided to base his story on Alice In Wonderland: a character who comes alive, thanks to Farmer (though Barilli feels she never really got into the role). Perfect viewing on tonight of all nights!
travellers continues its journey through an eerie wood, a sightless woman, flanked by three hounds, silently bids her henchman to stop the coach and murder its occupants. Hell of an opening, and, for the viewer, things get even better when Emily (Rosita Arenas) arrives at her Aunt Thelma's spooky hacienda, a matter of hours before her 23rd birthday.As one of the most renowned films from Churubusca Azteca Studios, THE CURSE OF THE CRYING WOMAN certainly lives up to its reputation, with Rita Macedo taking centre stage as the black magic woman who plans to use her niece to help resurrect one Marianne Lane - 'The Wailing Witch.'Macebo and Arenas are both excellent here, pushing their compelling battle of wills to the limit, while Salazar (Emily's husband) and Moctezuma (Thelma's hired hand, rescued from the gallows) make for good opposing characters; the real deal, however, comes with some exceptionally unnerving special effects: haunted mirrors, decaying not-quite-dead bodies, Macedo's gobsmacking entrance through a window and a wonderful series of shots featuring satanic rituals, shot with negative film stock - think Benjamin Christenson meets Italian Gothic. Just a few of the highlights from a film which may have come under the scrutiny of a pre-BARON BLOOD Mario Bava and, possibly, Dario Argento: check out INFERNO again and note not only the finale, but also certain dialogue similarities. My first experience of this film came via Beverly Wilshire's DVD, which, while bearing the customary scratches and splices of their Mexican series, is more than acceptable though it does, of course, highlight budget restrictions (rubber bats on wires, etc). For an infinitely more pleasing presentation, interested punters are directed to the special editio
n from Casanegra, which features a pristine transfer taken from newly restored vault elements. I'm sure I'm not the only one to express sorrow regarding the demise of this enterprising label.
growing up, Cass was plagued by constant racist bullying, but went on to become a terrace legend while attending West Ham football matches. By all accounts, CASS is a compelling film, charting issues of class, race and masculinity across almost four decades and is sure to be hard-hitting in its depiction of soccer violence. For sure, those who were around at the time will recall trips to Upton Park and vouch for the fact that Pennant and co could always be relied on to make life extremely uncomfortable (and that's putting it mildly). Expect a review early in the New Year.
village.Stein witnesses some strange sights when darkness falls and eventually learns the legend of The Templar's who rise from their graves for 7 nights every 7 years, requiring the locals to leave (you guessed it) 7 virgins on the beach for the Blind Dead to collect, which must have been a difficult task to fulfil.
returns to his NIGHT OF THE LIVING DEAD siege scenario and this builds to a great finale, adding to the legend of those ghost riders of Berzano.
se shores - and it's particularly gratifying to follow his success here.
two-parter, which will conclude the following evening, and concerns the kidnapping of a British soldier by an al-Qaeda cell who demand the cancellation of Remembrance Sunday in return for his release. Richard Armitage joins the cast for this series, playing an agent who has been held in a Russian prison for the past 8 years, and it will be interesting to see how this strand develops. As part of this series was shot in Russia, viewers can expect echoes of the Cold War, and a flavour of the old spy thrillers of the '60s. There has been a rumour doing the rounds that one of the major players here may well be leaving the series with a bang. All will be revealed over the coming weeks, so settle on the edge of your seat and prepare to be enthralled by another slice of one of our finest shows.
r seen again.Thanks to the advent of DVD, we are now able to study the works of a number of influential directors with a heightened awareness of that wafer-thin barrier between the living and the dead. While the name of Mario Bava springs to mind as the prime mover in these haunted worlds of unquiet spirits, Riccardo Freda and Antonio Margheriti both merit at least a chapter each in any self-respecting book of the dead.Of course, this trio of Italian directors had more in common than a talent for creating some of the most unsettling imagery in horror cinema; they also shared the services of some wonderful actresses, with the likes of Barbara Steele, Harriet Medin and Michelle Mercier gracing a number of their individual productions, including THE GHOST , BLACK SABBATH and THE HORRIBLE DR. HICHCOCK. Steele worked for all three directors, appearing here as Elisabeth; one of a quartet of ghosts who must replay their tragic deaths on the fateful anniversary. Once again, Steele's extraordinary features dominate the camera lens as she attempts to lure Foster to the other side, though fellow apparition Julia (Margarete Robsahn) almost steals the show as a spook with a score to settle. Regretably, Robsahm's acting career ended with this film, due to her embarrassment over a lesbian love scene with Steele. A similar red-faced reaction may also have been felt by one dithering G. Riviere, whose initial actions and reflexes seem governed by a 5 second time delay. Happily, Georgie boy eventually turns into a more than capable performer, complimenting a fine cast and Margheriti's atmospheric direction. By the time this film reaches a thoroughly downbeat conclusion, it's clear that Blackwood Castle has joined such undesirable residencies as The Villa Graps, Hill House and Lisa Reiner's mansion; part of a select group of properties that invite us through their doors for one night only.Synapse's splendid DVD release gives us the welcome opportunity of viewing the uncut CASTLE OF BLOOD, which includes "lost" footage of a topless Silvia Sorrente - one half of a honeymoon couple who accepted a Blackwood wager - together with the aforementioned love scene (which plays more like a rape, with Robsahn on top!). This particular incarnation was created from four different audio and video sources, in order to present the longest version possible. As a result, image quality is variable but, overall, gives a pleasing representation of Margheriti's macabre compositions, with bags of detail in darker scenes and crisp depictions of decaying corpses, haunted portraits and those gorgeous flesh and blood spectres. This DVD release was subject to a delay of several months, due to soundtrack-related problems. While it's true that Synapse have been unable to deliver a flawless soundtrack, any remaining glitches, while occasionally obtrusive, can easily be forgiven in the light of the reverential treatment afforded to this classic. 
their new album. The boys will be joining forces with the Crouch End Festival Chorus, and hope to do a cover of The Rolling Stones' 'We Love You' at some point in their set. Keane and Goldfrapp (the latter accompanied by strings and choir) are just a few of the other bands taking part.
le-parent mother - Kate,played by Stephanie Buttle - strongly suspects supernatural forces are present in their tower block flat, but finds her appeals to be re-housed are falling on deaf ears. In a desperate bid to enlist sympathetic help, she contacts the local press, resulting in an investigation by a journalist (Jason Connery) who swiftly decides her claims to be nothing more than an attempt to jump the housing queue. While mediums, paranormal investigators and devout Christians invade the flat to carry out their own investigations, Kate and her family must battle through a succession of decidedly earthbound obstacles, with the scent of psychic phenomena hanging heavy in the air. URBAN GHOST STORY is as much about the living as the dead, centering on many socially-driven repercussions that confront families who find themselves on the bottom of the pile: violent debt collectors; a family member destroying herself on drugs; the struggle to free oneself from squalid living conditions and authorities who are unwilling and, often, unable to offer a way out. 
Chris Jones for making such a full-bodied drama on a low budget, and also to a fine cast who do full justice to the literate screenplay. Amazingly, the most memorable performance comes from 13 year old Heather Ann Foster who belies her tender years with a mature turn as the frightened girl consumed with guilt over the death of her friend. With her tormented visage - contrasted at times by great serenity- fearful glances and accomplished script delivery, Foster goes through the whole gamut of emotions, and it's both surprising and sad that that neither she nor her director have really broken through during the 10 years since this film was released. I was lucky enough to catch URBAN GHOST STORY opening weekend at the Metro cinema in 
London's Rupert Street, snapped up the DVD when it came out, and remain mystified that it has yet to receive the recognition it deserves from the public at large.
