Friday, February 5, 2016

Movie Review: “Hail, Caesar!”


Hail, Caesar!

**** 1/2 out of 5
106 minutes
Rated PG-13 for some suggestive content and smoking
Universal Pictures

Article first published at The Reel Place.

The Coen brothers are probably the most idiosyncratic directors working today. Joel and Ethan have been delivering nothing but consistent work ever since they made a huge splash with their clever noir Blood Simple. Even what some might consider their lesser work have more brilliance per frame than most directors who rely on quantity over quality. They include: The Hudsucker Proxy, Intolerable Cruelty, The Ladykillers, and Burn After Reading. What they all have most in common is their dependence on comedy.

While their more serious flare is more widely recognized — especially when it comes to awards season — you’re never hurting for entertainment watching a Coen brothers title. And now, with Hail, Caesar!, they’re at it again. As another love letter to Old Hollywood, their unabiding love of classic filmmaking shines through better than ever. This may be their most “inside” picture yet, but it’s deliriously funny at times, even if some may find the plot a little meandering.

At Capitol Pictures, Eddie Mannix (Josh Brolin) is the man with the plan. A studio fixer, he’s always around to keep the well-oiled machine running no matter what cog gets thrown in the wheel. His latest conundrum is the disappearance of their biggest star Baird Whitlock (George Clooney), is being held for ransom by “The Future.” Meanwhile, he’s tackling everything else thrown in his path from covering up the husbandless star DeeAnna Moran’s (Scarlett Johansson) pregnancy to director Laurence Laurentz (Ralph Fiennes) dealings with cowboy Hobie Doyle (Alden Ehrenreich) to the endless barrage of twin columnists Thora and Thessaly Thacker (Tilda Swinton on double duty) trying to find a scoop on Whitlock’s extracurricular activities. All this while facing a possible career change for the sake of his family.

If anything, nobody does screwball as well as the Coens. They plow through every film with aplomb, never caring whether a scene may feel like it’s running too long. Let’s just say that if you find yourself wondering where something may be going, they deliver one of the best payoff scenes in a while. Their gigantic cast is having the time of their lives, even if George Clooney is playing a more spastic version of his typical characters. Channing Tatum may feel underused, but winds up being an even better plot twist than he did in The Hateful Eight. You’ll never see it coming. And even Frances McDormand — wife of Joel — is in only one scene and it’s the best thing in the movie. It reminds me of the accidental inhaler shooting from Intolerable Cruelty and will go down as one of the funniest scenes of the year.

While some may be questioning the February release date, Hail, Caesar! is no slouch. It’s every bit as hilarious as you’d expect from the Coen brothers. Never deserving to be brushed off as a mere trifle on their resumes, this star-studded affair has their trademark wit coursing through its veins. It even finds a moment or two to get in some Trumbo-esque jabs at the Hollywood system. Let’s just say that they’re making a poignant point with who makes up “The Future.” To say the Coen brothers have never made a bad film is an understatement and Hail, Caesar! may not be everyone’s cup of tea, but mark my words, the film is endlessly entertaining and deliciously absurd in all the right ways. Considering how stale January was, Caesar is a huge leap forward for the year and should not be missed. Hail, Caesar! indeed.

Sundance 2016 Film Reviews: ‘The Greasy Strangler’ and ‘The Lure’

The Greasy Strangler: Zero stars
The Lure: *** 1/2

Article first published on Blogcritics.

Plenty of WTF films that come out of the Sundance Film Festival every year. I managed to see two, and one happens to be way better than the other.

Not everyone can be John Waters. His brand of filth will always be genius and no one should ever try to live up to him —  I’m talking to you writer/director Jim Hosking. Taking the cake for worst film of the 2016 program, The Greasy Strangler will no doubt go down in a blaze of glory for its awfulness. The film’s publicists are even trying to spin the bad word-of-mouth — most notably The Hollywood Reporter and Variety — by making fake ads sporting their “rave” reviews. Whatever you’ve heard about the film, it’s undeniably worse. Unless you like subjecting yourself to horrible acting and prosthetic penises.

As a short film, Hosking — along with his too-willing stars (Michael St. Michaels, Sky Elobar, and Elizabeth De Razzo) — this sordid trash could have been the hit the director thinks it is. There may be a manic glee to Hosking’s debauchery, but it gets so repetitive that you start to wonder if the film started over halfway through. How this started a bidding war is beyond me. It’s probably because Elijah Wood’s name is attached as producer.

For what it’s worth, the best way to describe the film is trying to imagine if Jared Hess directed a John Waters-reject script and threw in a few instances of Troma-style kills. Trust me, whatever you just conjured up in your own head is way better than any of Hosking’s on-screen depravity.

Avoid at all costs. Considering I have no idea who the target audience is, I think it might be safer to say that whatever studio plumped down their money should lock all the prints in a crate and drop it off a seaside cliff Creepshow-style to keep anyone from ever having to sit through it.

On the flip side, The Lure is hands down the most bonkers film I saw. A Polish musical about murderous mermaids Silver (Michalina Olszanska) and Gold (Marta Mazurek), it never skimps on the music, blood, or nudity. I was a little scared about the actresses ages — thankfully both actresses are in their 20s — considering they spend a lot of the film in their birthday suits. But alas, the film has a sweetness to its vengeful story of two mermaid sisters who get caught up in a Warsaw dance club band.

If there’s any real problem with The Lure it’s that it never makes up its mind about what kind of musical it wants to be. It bounces around from rock opera to one huge choreographed number and then to a Chicago-style “mind’s eye.” Cinematographer Kuba Kijowski keeps things bright and flashy, but sometimes it also feels like there were chunks of the film left on the cutting room floor. Choreographers Kaya Kolodziejczyk, Jaroslaw Staniek, and Betty Q keep the musical numbers the spectacles they should be, even if some of the lyrics don’t really do much to move the plot along.

What plot there is, director Agnieszka Smoczyńska carries her cast through Robert Bolesto’s screenplay at a rapid fire pace. Mazurek and Olszanska keep the viewer titillated enough to make up for some of the dopier aspects — like run ins with Triton who wants to steal one of the sisters away, while the other is caught up in a love affair with one of the band members. The Lure may not be perfect, but it’s definitely set on becoming a new cult classic. Oddly enough, this one isn’t featured in the Midnight section but in the World Dramatic. That’s probably  because it’s so much better than The Greasy Strangler that it would be unfair to lump them side-by-side. And, considering this is Smoczyńska’s first film, I can only imagine where her career will go from here.

Photos courtesy Sundance Institute

Sundance 2016 Film Reviews: ‘The Lobster,’ ‘Other People,’ ‘Hunt for the Wilderpeople,’ and ‘Operation Avalanche’

The Lobster: **** out of 5
Other People: **** 1/2
Hunt for the Wilderpeople: *****
Operation Avalanche: ****

Article first published on Blogcritics.

Thankfully, not everything that plays the Sundance Film Festival is soaked in drama. Plenty of comedies can whet our appetite — even if some of them can’t help but keep the dramatic flare. There are also those that hold the potential to be watched through “Sundance Goggles,” meaning sometimes when watched after their festival run, they just don’t hold up. I don’t think any of these will fall victim to that this year.

The Lobster may seem the most out of place, considering it’s being released in the U.K. on home video next month and has been playing other festivals since last May. So it makes sense that it’s playing as part of the Spotlight section, which focuses on films that have been getting lots of play around the world. Colin Farrell stars as David in co-writer/director Yorgos Lanthimos’s absurd comedy. In the future, there’s a hotel for single people where they have the chance to either find love within a few weeks, or wind up getting turned into the animal of their choice. For David, he’s chosen the titular animal and has brought along his brother who previously didn’t make it and was turned into a dog.

Lanthimos and co-writer Efthymis Filippou keep the gags flying at a rapid pace and even throw in some gallows humor. The Lobster is a fantastic dark comedy, something we don’t see as often as we used to. It almost feels like it could have originally been a Monty Python bit, but Lanthimos never breaks his own rules. Some may be put off by the ambiguous ending — just remember the opening scene of the film and you should be able to put the pieces together. It’s not as strange as you might think. Bound to play art houses stateside, it’s worth checking out if it happens to be playing nearby.

What would Sundance be without a good dramedy, right? This year, writer/director Chris Kelly wrings the laughter and the tears from even the most hardened viewer with the cancer-comedy Other People. While not your typical leading man, Jesse Plemons pulls away from character actor and carries the film admirably. It helps that he’s surrounded by such a fantastic cast. With Molly Shannon as his dying mother, Bradley Whitford as his homophobic father, and Maude (daughter of Judd) Apatow as one of his neglected sisters, everyone gets a chance to shine.

While some may not appreciate the film careening from hilarity to saccharin at the drop of a hat, that’s life. Kelly brings his comic sensibilities from the small screen (Saturday Night Live, Broad City) to the big screen in a fantastic debut. Shannon may steal the show as we slowly watch her slip away over the course of a year, but Plemons plays off her beautifully — showing a real mother/son relationship as he watches his best friend wither away. Packed full of laughs and tears, Other People will go down as one of the year’s best dramedies, and could even earn Shannon at least a Golden Globe nomination next year, if not maybe an Oscar nom. She’s come a long way from SNL and just keeps getting better.

The funniest and best of the bunch — not to mention my favorite of the whole festival — is writer/director Taika Waititi’s Hunt for the Wilderpeople. Returning to Sundance for the fourth time, including 2014’s What We Do in the Shadows, Waititi makes another stellar solo outing that fits more in line with his first two Sundance films Boy and Eagle vs Shark. Quirky, heartfelt, hilarious, visually grand, and a just plain joy to watch, this will stand as not just one of the festival’s best films, but as one of the year’s best as well.

Julian Dennison makes an auspicious debut as Ricky — a real bad egg — who keeps getting shuffled around from home to home, finally landing in the care of Bella (Rima Te Wiata). At first he’s not so fond of living so far out in the bush, but soon learns to love it, even while dealing with the curmudgeonly Uncle Hec (Sam Neill). After Bella dies, Ricky decides he’s running away from it all and Uncle Hec heads out to look for him. After Hec fractures his ankle, a manhunt ensues after the local authorities think that Hec may have taken Ricky out into the wildlands to get rid of him.

The cast all work splendidly together creating real rapport. It certainly helps that Waititi has crafted such a fantastic screenplay giving everyone plenty of chances to bowl you over with laughter. Not to give anything anyway, but there are at least two films playing the festival this year with a dog winding up dead and only this one will manage to make you actually cry about it. Waititi even gets his own chance to shine as a hilarious priest. Considering Waititi’s films just keep getting better, I can only imagine the stamp he’s going to make on the third Thor film. Ragnarok can’t come fast enough at this point. Keep your eyes peeled for this one as it’s bound to find its way to a theater sooner rather than later.

While not exactly an outright comedy, Operation Avalanche features plenty of spark to classify it as such. Even if it gets caught up in some high stakes thrills as the film dives into its finale. Mockumentaries are nothing new to Sundance — The Blair Witch Project, anyone? — so it comes as a shock when we’re graced with a good one. Let alone a really good one. Matt Johnson gets to show off as a jack of all trades as he takes the reigns as director/co-writer and star. Along with a motley crew of undercover CIA agents, they stumble upon one of the biggest conspiracies in American history. Was the moon landing faked?

Thankfully, Johnson — along with co-writer/co-star Josh Boles — give us another inconclusive ending, but treat us to one that actually works. The laughs and thrills are paced to a fantastic conclusion and there is plenty to love along the way. With a cast of characters engaging enough to make the story work, it even keeps you guessing right up to the last shot. Johnson was on hand after the screening for a lively Q&A where he explained how they managed to shoot the film on a minuscule budget inside NASA itself by basically lying through their teeth and getting the most out of 20 minute windows. Operation Avalanche has already been picked up by Lionsgate but doesn’t have a release date announced yet. Hopefully the film finds its audience when it finally goes wide, and I have no doubt it will. Smart and fun mockumentaries are hard to come by so make sure you give the attention it deserves when it finally hits theaters.

Photos courtesy Sundance Institute

Movie Review: “The Revenant”

The Revenant

***** out of 5
156 minutes
Rated R for strong frontier combat and violence including gory images, a sexual assault, language and brief nudity
20th Century Fox

Article first published at The Reel Place.

It’s interesting what one major film can do to bring a director completely into the spotlight. For Alejandro González Iñárritu it was Birdman. While initially unimpressed, it took a second viewing to fully appreciate the technical wizardry and fall in love with the film the way everyone else did. A second look won’t be necessary with his newest Oscar-lock, The Revenant, based in part on the novel by Michael Punke. Filled with scene after scene of startling brutality and spectacular performances from a roster of A-listers, the film more than lives up to expectations. Iñárritu has delivered an amazing film that’s every bit as challenging to sit through at times as it must have been to put together.

In 1823, a group of fur hunters — Hugh Glass (Leonardo DiCaprio) and his Pawnee son Hawk (Forrest Goodluck), John Fitzgerald (Tom Hardy), and Jim Bridger (Will Poulter), under the command of Andrew Henry (Domhnall Gleeson) — come under attack by the local American Indians. After narrowly escaping on the river, a pursuit gives way, with Glass fighting for his life following a bear attack. Henry bribes Fitzgerald and Bridger to stay behind to see Glass get a proper burial once he finally dies. Fitzgerald winds up killing Hawk in front of his father and inducing a frenzy upon Bridger, giving the opportunity to leave Glass for dead. Little do they know that Glass isn’t going down without a fight and starts a crusade back to base camp to seek revenge. Meanwhile, a company of Americans Indians are hot on everyone’s trail, trying to rescue a kidnapped girl.

Revenge is the name of the game and Iñárritu’s The Revenant puts both DiCaprio and the audience through the wringer. Swept up in the harsh winter onscreen, the film is so fully realized that you’ll wish you’d brought a coat. And DiCaprio’s performance might finally be the one that wins him that oft teased golden statue. The entire film is an exercise in audience punishment with no holding back on the violence and extreme realities of being stuck in the mountains. My friend coined this “a western Apocalypto” and he couldn’t be more right. A particular scene harkens back to The Empire Strikes Back as Glass goes to an unexpected extreme to keep warm overnight. Not to mention the bear attack is single-handedly the most vicious and realistic onscreen animal attacks since Jaws.

The rest of the cast all stand alongside DiCaprio with outstanding performances. Hardy is stellar as expected, in what only adds to his list of memorable performances this year including Mad Max: Fury Road and Legend, while Gleeson continues to prove to be fantastic no matter what role he’s in. With as much love that’s about to be thrown Leo’s way, the real star of The Revenant is Iñárritu. The man never shies away from the elements and has crafted yet another stunning achievement. Considering Iñárritu’s co-writer’s credits — Mark L. Smith, who typically works in the horror genre, but I can see how it could have helped here — I wouldn’t be surprised if the entire shooting script was a rewrite. Thankfully, The Revenant is one of the best films of the year and even at a staggering 156 minute runtime, I can’t wait to witness it again. The film truly is an experience that you don’t want to miss.

Blu-ray Review: “Martyrs”


Movie: ** out of 5

Video: ****
Audio: ****
Extras: **

Article first published as Blu-ray Review: The Goetz Brothers Neuter Pascal Laugiers Overpraised ‘Martyrs’ on Blogcritics.

There’s only one thing worse than an overpraised foreign horror movie: its American remake. In 2008, French director Pascal Laugier unleashed one of the most controversial horror films. While it may push the envelope, I’ve never found the original film lives up to its showering of existential praise. Never as shocking as it thought it was, now, the Goetz brothers (Kevin and Michael) have managed to make yet another horrible remake — reminding me how much I didn’t care for the material to begin with. And now audiences can make the smart choice to ignore the remake with the Starz/Anchor Bay release, available now on Blu-ray.

We open with young Lucie (Ever Prishkulnik) escaping an apparent torture chamber. When the SWAT team returns to the scene of the crime, all evidence is, of course, wiped clean. They question whether she made it all up or maybe pointed out the wrong warehouse. A month later, Lucie is now at an orphanage where she makes friends with young Anna (Elyse Cole). Together they learn to help Lucie overcome her demons, until 10 years later when Lucie (Troian Bellisario) shows up at a country house where she kills a seemingly innocent family. Anna (Bailey Noble) rushes to her aid, only to question even more whether Lucie is telling the truth. When Anna discovers a trap door, she soon learns the horrifying truth behind Lucie’s madness.

Martyrs comes to Blu-ray with a rather fantastic transfer. Framed in its original 2.40:1 aspect ratio on a 25GB disc, the film has plenty of room to breathe considering its 86 minute runtime and single special feature. Blacks looks great, shadow delineation is great, detail in general is exceptional, and there’s no crush or aliasing. For a low budget affair, everything is in top order. The 5.1 Dolby TrueHD track isn’t quite up to par as the video. Considering it’s a horror movie should leave no surprise it’s a little front heavy. Surrounds kick in when the music tries to trick the audience into feeling some kind of emotion, but otherwise, it simply gets the job done. Dialogue is always clean and there are a few moments of prioritization. English and Spanish subtitles are included.

The only special feature is “Martyrs: A First Look” (8:22) featuring the producer, cast, and crew. The word “rollercoaster” gets mentioned, but this film couldn’t be any further from that. The setup takes almost an hour before it finally gets to the big twist, but by that point, a lot of viewers will have probably either given up and turned it off or fallen asleep. The Goetz brothers have given an already overhyped film the most neutered and boring remake imaginable. The most surprising aspect is that the film was written by Mark L. Smith, who just got co-writing credit on Alejandro González Iñárritu’s The Revenant, but I have no idea what he could have possibly contributed to it. Full of characters you never root for — just because women are in peril doesn’t mean we automatically care — and an even more ludicrous ending than the original, Martyrs is simply going to find the most casual viewers showing interest based on the film’s title alone.

While I may not be a fan of Laugier’s original, it’s far more interesting than anything that happens here. At least in the original, one of the characters winds up alone in the madness that befalls her. Here, all they did was threw away the film’s one twist that works and paired up the friends in a fight to the death. Considering fans of the original are already lamenting this most unnecessary of remakes, it won’t be long before anyone even remembers the remake is finally available. I watched it days ago and wouldn’t give the film a fleeting thought were I not writing this review right now. Disposable is the best word to describe this version of Martyrs. Watch at your own risk, but don’t say I didn’t warn you.

Friday, January 29, 2016

Movie Review: “Kung Fu Panda 3”


Kung Fu Panda 3

**** out of 5
95 minutes
Rated PG for martial arts action and some mild rude humor
Twentieth Century Fox

Article first published at The Reel Place.

First thing’s first, don’t let the January release fool you, Kung Fu Panda 3 is not a terrible mistake. While it doesn’t quite live up to the heights of the first two — I never expected it to beat the greatness of Kung Fu Panda 2 — it still serves as a fantastic finale if they were to call it quits. Co-director Jennifer Yuh returns — joined by long-time DreamWorks contributor Alessandro Carloni — and brought back the same writers from the first two: Jonathan Aibel and Glenn Berger.

I’m not sure what’s missing, but it seems to be the same thing lacking in just about every feature since the animation studio was taken over by Twentieth Century Fox in 2013. Through The Croods, Turbo, and Mr. Peabody & ShermanHow to Train Your Dragon 2 and Penguins of Madagascar being the exceptions — the studio just hasn’t felt the same. While their outings have never been able to best Pixar through the years, they still aren’t firing on all cylinders. Kung Fu Panda 3 has been nearly five years in the making and gets the job done. Just don’t expect to watch it over and over again.

Catching up with the Dragon Warrior Po (voiced by Jack Black), he’s now faced with his most awesomest of tasks: to take over training for Shifu (voiced by Dustin Hoffman). As if that wasn’t daunting enough, his most nefarious villain yet arrives from the Spirit Realm in the form of Kai (voiced by J.K. Simmons). Kai has figured out how to literally harness kung fu warriors’ chi, encapsulating it in the form of a jade emerald, starting with poor Oogway (voiced by Randall Duk Kum). And there’s the return of Po’s real father, Li (voiced by Bryan Cranston), much to the chagrin of Mr. Ping (voiced by James Hong). Now, Po must find a way to defeat Kai and return peace to the land, while Kai will stop at nothing to gain all the power he can before the epic showdown against Po.

If the Kung Fu Panda films have one thing going for them, it’s consistency. Always full of heart, humor, and action, DreamWorks has got this franchise down pat. And perhaps therein lies the problem. After the film ends and start to think about what happened, you realize just how familiar the film really is. Plot mechanics be damned, there a few too many coincidences and plot holes this time around that you’d think they could have ironed a few of them out — especially considering how long it took for this one to make its way to theaters.

But don’t worry, it’s all in good fun. Plenty of slapstick abounds, and even with Guillermo del Toro returning to executive produce, it never gets too scary to upset the youngest viewers. This also may be the most childish of the series — KFP2 has now been concreted as the Empire Strikes Back of the franchise — but it does make plenty of nods to the first two installments to wrap things up nicely. Kung Fu Panda 3 may be more of the same, but in this case, that’s never a bad thing. It kicks off the 2016 animated features off to a great start. However, it might be forgotten after Finding Dory swims into our hearts this summer. Until then, what’s wrong with a little Po-sized fluff?

Blu-ray Review: “What Have You Done to Solange?”

Movie: **** out of 5
Video: ****
Audio: *** 1/2
Extras: *** 1/2

Article first published as Blu-ray Review: Arrow Video Brings Massimo Dallamano’s Classic Giallo What Have You Done to Solange? to the U.S. on Blogcritics.

The giallo movie genre is synonymous with Dario Argento. The man basically invented the genre of young women being terrorized by a black-gloved killer while an amateur sleuth is on the case. As much as I love horror films, it wasn’t until after seeing Edgar Wright’s Hot Fuzz that it ignited my love for the genre.

While Argento may be the undisputed king, there are a few directors who managed to leave their mark as well. And now, Massimo Dallamano’s What Have You Done to Solange? has been given the near Criterion Collection-treatment, courtesy of the U.S. branch of Arrow Video. No longer in need of a region free player, now we can too can bask in the glory of some of the fantastic imports that have been exclusively available overseas.

In London, Enrico ‘Henry’ Rosseni (Fabio Testi) is spending the morning drifting along the riverbank with one of his students, Elizabeth (Cristina Galbo). Suddenly, their bliss is interrupted when Elizabeth has a terrible vision of a girl being murdered and, sure enough, a body is discovered not far from where they are. After Henry returns to the scene of the crime, he becomes a suspect under the watchful eye of Inspektor Barth (Joachim Fuchsberger). As the bodies mount, Henry becomes the prime suspect and must navigate his way through his loveless marriage to Herta (Karin Baal) and stay one step ahead of the killer to find out who’s behind the brutal schoolgirl slayings.

Arrow Video brings Solange to home video in a Blu-ray/DVD combo pack on a 50GB disc, framed in an aspect ratio of 2.35:1 with amazing results. No longer the byproduct of suffering the death of a grindhouse image, Solange has been cleaned up meticulously with spectacular results. While never being quite razor sharp, fine detail is on display in nearly every shot. Whether interior or exterior, it’s unlikely anyone has seen the film look as good as it does now. Nevermind the hair at the top of the screen at the 1 hour 18 minute mark.

Colors are nice and natural and there’s no sign of crush, aliasing, or even banding. Even the Original Italian Mono 1.0 DTS-HD Master Audio track is clean and crisp. The score by master Ennio Morricone also sounds as vibrant as one could hope. There are, of course, instances where the dubbing doesn’t quite match up, but that’s par for the course and is no reason to mark down the sound. An English DTS track is also available, with newly translated English subtitles for the Italian track and optional English subtitles for the deaf and hard of hearing for the English track.

While not quite reaching the heights of a Criterion disc, Solange does come with a wealth of special features. Three featurettes are included, featuring interviews with actress Baal “What Have You Done to Decency?” (13:38), actor Testi “First Action Hero” (21:17), and producer Fulvio Lucisano “Old-School Producer” (11:02). All of these vary in quality and information. Baal seems very dissatisfied with having anything to do with the production and takes every opportunity she has to cut it down. Testi focuses his discussion on his own career. While Lucisano name drops while sharing tidbits about working with Morricone — questioning how the man has not won an Oscar yet, something that could be in the works with his score for Quentin Tarantino’s The Hateful Eight — and his meeting with Tarantino himself who loves the film and counts it as one of the films that taught him what he knows about filmmaking.

A commentary with critics Alan Jones and Kim Newman sheds some fun light on the genre and the film itself. “Innocence Lost” (29:00) is an Arrow exclusive video essay from Michael Mackenzie who explores the themes of Solange, along with its two semi-sequels as part of the “Schoolgirls in Peril Trilogy,” a dissection of giallo itself, covering everything from its use of and lack of children to its obsession with killer priests. The film’s trailer (3:05) is included, along with a 27-page booklet featuring articles by Howard Hughes (“A Little Night Music: The Giallo Scores of Ennio Morricone”), Art Ettinger (“Camille Keaton: Solange and Beyond”), and a quick quip about the 2K restoration.

Chock full of everything anyone could want from a giallo film, What Have You Done to Solange? is another classic example of the genre and proves its staying power and influence on directors today. Sparing the audience nothing — from scythed vaginas to nubile schoolgirls showering while being spied on by peeping toms — Dallamano delivers a classic giallo with a fantastic video/audio presentation from Arrow Video, the true masters of restoring the macabre. What Have You Done to Solange? is a great example for anyone looking to dip their toes into something more than run-of-the-mill slashers. They just don’t make ’em like they used to.