It’s the 1993 January sales, and Sheila, a bank clerk living in a Thames Valley town, needs a new dress for a date. She visits the local department store, where the persuasive shop assistant Miss Luckmoore sells her a red dress. It’s the only one
Be you a fan of horror or genre cinema, as much as you’d like the opposite to be true, you can’t know about all movements and styles – it’s that very reason why, I, personally, appreciate Arrow Video more than I can put into words.
Whether or not he was the best director remains to be seen, when the topic of the Giallo comes up one of the first names to come up is Dario Argento. Even if his career took a near-legendary nosedive in the late 1980s-early 1990s, his
Inspired by the late Harry Dean Stanton, whether it’s fearlessly wading into the debates over controversial new releases or creating singularly unappetising food metaphors, we don’t give a duck. In Off the Shelf, Rob and Graham review a double-bill of Italian horror from Arrow with
In “Gli Imatori”, a visual essay featured in an uncharacteristically spartan selection of arrow video features, Michael Mackenzie comments on Italian cinema’s propensity to copy (escape from New York becomes 2019: After the Fall of New York, for example) as this latest Mario Bava title
Dario Argento is synonymous with the Giallo (Heavily stylised Italian Murder/Slasher) whereby one of his latter-day and inferior films carries the very same moniker, similarly, his directorial debut the Bird with the Crystal Plumage counts among the most acclaimed and beloved movies in the cycle.
Powerhouse films have launched this Monday with a wonderful statement of intent, elsewhere on the site you can read our review of John Carpenter’s Christine, a release supplemented with the most definitive roster of extras one could hope for any home video release. The same
Most nations experienced the 1970s as a long, paranoid hangover following the freedom and optimism of the 1960s. But pity poor Germany, which got all of the worst of the 1970s without a ’60s worth talking about. The signature political event of the 1960s in
The Giallo is the oddest of beasts – formulaic with a wildly eccentric code at the same time. Ostensibly murder mysteries with penchants for violence and sex, they also played host to some of the most visually inventive names from Italian cinema. The last thing
The giallo, an influential style of Italian thriller originated during the 1960s, was not known for moral statements. That said, there’s a perfect summation of the sub-genre’s attitudes in one aside from 1972’s The Red Queen Kills Seven Times, the second of two films by