3 items from 2017
The Death Dealer is headed to television.
Deadline brings word today that Len Wiseman and Sketch Films are spearheading an Underworld TV series based on the cult action-horror franchise of warring Vampires and Lycans. With an eye on a premium cable/digital slot, the long-gestating project will seemingly be a “big departure” from the five-part film series, which itself launched the middling Underworld: Blood Wars back in January. Perhaps some fresh blood and a new platform are needed to keep the cult action franchise afloat?
It’s far too soon to gauge Underworld‘s chances of success, but it now joins a long line of film-to-tv adaptations. It’s a creative process fraught with duds and disappointments, as competent spinoffs like The Exorcist are often countered by the likes of Minority Report and Limitless, which were both canned after only one season on the airwaves. Here’s hoping Wiseman’s »
- Michael Briers
Don’t Torture a Duckling, 1972.
Directed by Lucio Fulci.
A rural Italian village is plagued by child murders and the finger of suspicion points to several of its locals.
Set in rural Southern Italy, Don’t Torture a Duckling followed in the wake of director Lucio Fulci’s glamorous giallo A Lizard in a Woman’s Skin, a taut thriller set in the glitzy world of swinging London. …Duckling, despite also being a giallo, is a rather different beast with its gentler, less colourful location but also its themes of social upheaval, differing beliefs and that biggest of targets for this particular director, the Catholic Church.
The plot involves the quiet village of Accendura where the peace is shattered by a spate of child murders. Naturally, the residents are outraged and want the killer caught but the »
Author: Daniel Goodwin
Australian debut writer/director Ben Young makes an astonishing transition from lightweight TV with Castaway and Prank Patrol (Candid Camera for the i-generation) to this edgy, visually scintillating kidnap/rape/escape thriller. Hounds of Love gradually unravels its characters before developing them via scenes of suspense, conflict and surprising poignancy. Young shuns gratuitous violence and gruelling exploitation to set HoL apart from lesser contemporary sub-genre efforts as well and grimier Giallo and Grindhouse flicks like Almost Human, House on the Edge of The Park and I Spit On Your Grave.
It’s near Christmas in sun-soaked suburban Perth, 1987, when troubled teenager Vicki Maloney (Ashleigh Cummings) is kidnapped by local maniacal grunts John and Evelyn (Stephen Curry and Emma Booth), bound in their home then subjected to psychological torment, sexual humiliation and physical abuse. Vicki must manipulate John and Evelyn by studying their characters/relationship dynamics then turn »
- Daniel Goodwin
3 items from 2017
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