supersoul

I don't like first-person movie reviews (who cares, ed.) but in this case, it's the only way, well done dreamwarrior. This film is an experience; you need to keep your ear tuned to catch what Spider is mumbling, your eyes wide open to decipher what he scribbles, and your nose alert to pick up the stench of the London suburb where he stays. Otherwise, you risk falling asleep like Lesto Bang, who went to the cinema with his eyes, ears, and nose shut. I still don’t know if I prefer Cronenberg's body mutation or this one of personality mutation in his recent films (Spider, History of Violence, Eastern Promises).

Well, we agree that Vincent Price is hamming it up a bit (and have you seen him in Corman's films?), but he is the added value of this film, which I consider exceptional regardless of whether it deserves a 2 or a 4. Just look at the anguished opening of the film with those grainy black-and-white pans over fog-covered Rome, the wind (carrier of the virus) blowing, the streets of Eur littered with corpses. Good grief, it's 1964 and an Italian film sets the coordinates for so many others that will come after, from Romero to the latest ones by Danny Boyle. Let's wave the tricolor every now and then, come on! And it's quite dry: the infected daughter tossed into the burning landfill hill (of the dead, while for me it would be the trash one...), the wife, on the other hand, is buried in a Christian manner, and Robert finds himself that evening knocking on her zombified door. Cult.

...sorry chef but I posted before seeing your comment...

...(then on this site they even tell you that you play the acid principal)... Here’s another one playing the part of Colonel Kurtz, arriving at the village of the natives thinking he’ll find them with rings in their noses and bringing them a few shiny beads to fool those four fools... Half a review explaining who the VU are, saying the nonsense that they only made two albums when there are two more under their name (the self-titled one from 1969 and Loaded from 1970), and that the fantastic piano in "Waiting for my man" is played by Nico when just to have a visual proof, not only an auditory one (because you can tell immediately just by sound), you just have to click on YouTube to see that the pianist is a man with long straight black hair and a nice nose... could it be Nico dressed as John Cale?

Speaking of Battles and Zappa, take "Tonto" around four and a half minutes in, when only the bass is leading the motif, and now take Zappa's CD "Imaginary Diseases" and play the track "D.C. Boogie," well, listen to the bass leading at the beginning: identical. Uncle Frankie was right in his review of Lumpy Gravy.

...I go further: the mere scene of Tutankhamun rallying the Theban army ("...we will fight the Assyrians, the ancient enemy of our people... we have spears, swords, arrows, mortars, tricchetracche and castagnole, and with these powerful weapons we will break the backs of Maciste and his companions, of Rocco and his brothers!!!) is worth all of Boldi's films from the first to the last frame.

but why do you want to see me aligned with the "enemy" Poletti (hey Poletti, I'm joking, okay?) in telling you that if you compare Totò to that idiot Boldi then for me you are beyond any of my communicative interest?

...more than Fellinian in the list of adjectives from the trailer...oops, sorry...from the review, we are missing Browningian.

On the back cover, there is the same little girl with her head turned, looking at an abandoned pool reduced to a pond, where water lilies float and reeds tower, all immersed in the usual cold colors of the Hipgnosis studio.

maybe if you read the review instead of just looking at the cover that idiot of a reviewer explains it to you too...