MajesticMane
Joined Aug 2023
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges9
To learn how to earn badges, go to the badges help page.
Ratings775
MajesticMane's rating
Reviews451
MajesticMane's rating
La noche de los asesinos, or Night of the Skull as it's known in English, is a 1974 giallo film directed by the prolific and controversial Jesús Franco. With a filmography ranging from erotic horror to exploitation, Franco is known for pushing boundaries, and this film is no exception.
The movie starts with a warning: "For God's sake, stay in your rooms and lock the doors!" This foreboding message sets the tone for what's to come-a suspenseful, bloody, and mysterious ride. The story unfolds with a series of murders, each more gruesome than the last, as the audience is left wondering: Who is this killer, and what is their motive?
Franco's signature style is on full display here, with a generous helping of his beloved elements: suspense, intrigue, and bloody mayhem. However, this film differs from his erotic horror classics. While it has hints of sleaze and features frequent collaborator Lina Romay, the film surprisingly lacks the gratuitous nudity and overt sexual themes that Franco is known for. Instead, it focuses on building a tense and eerie atmosphere.
The performances in La noche de los asesinos are a standout aspect. The actors, including Romay, deliver above-par portrayals, with the first murder sequence being a highlight. The look of the killer is effectively unnerving, and the ending delivers a surprise that, while unexpected, ties the story together.
However, the film is not without its drawbacks. The storyline, while engaging, may feel familiar to fans of the genre, and some viewers may find themselves predicting certain twists. Additionally, those expecting Franco's usual explicit content may be disappointed by the relatively restrained nature of this film in comparison.
In conclusion, La noche de los asesinos is a well-crafted thriller that showcases Franco's ability to create a suspenseful and intriguing narrative. While it may not reach the heights of his most acclaimed works, it is a solid addition to the giallo genre and a must-watch for fans of suspense and mystery.
The movie starts with a warning: "For God's sake, stay in your rooms and lock the doors!" This foreboding message sets the tone for what's to come-a suspenseful, bloody, and mysterious ride. The story unfolds with a series of murders, each more gruesome than the last, as the audience is left wondering: Who is this killer, and what is their motive?
Franco's signature style is on full display here, with a generous helping of his beloved elements: suspense, intrigue, and bloody mayhem. However, this film differs from his erotic horror classics. While it has hints of sleaze and features frequent collaborator Lina Romay, the film surprisingly lacks the gratuitous nudity and overt sexual themes that Franco is known for. Instead, it focuses on building a tense and eerie atmosphere.
The performances in La noche de los asesinos are a standout aspect. The actors, including Romay, deliver above-par portrayals, with the first murder sequence being a highlight. The look of the killer is effectively unnerving, and the ending delivers a surprise that, while unexpected, ties the story together.
However, the film is not without its drawbacks. The storyline, while engaging, may feel familiar to fans of the genre, and some viewers may find themselves predicting certain twists. Additionally, those expecting Franco's usual explicit content may be disappointed by the relatively restrained nature of this film in comparison.
In conclusion, La noche de los asesinos is a well-crafted thriller that showcases Franco's ability to create a suspenseful and intriguing narrative. While it may not reach the heights of his most acclaimed works, it is a solid addition to the giallo genre and a must-watch for fans of suspense and mystery.
Kaput Lager - Gli ultimi giorni delle SS is a bizarre, low-budget entry into the Nazi exploitation genre from the notoriously eccentric director Luigi Batzella.
The film follows Richard Harrison, who finds himself part of a ragtag group sent on a mission to destroy Nazi tanks in Africa. This premise, however, quickly takes a backseat to the real meat of the movie: the POW camp. After our 'heroes' are inevitably captured, they are taken to a prison camp run by the sadistic Gordon Mitchell, where the film descends into sleaze and degradation.
The film is undeniably cheap, with a host of technical issues. The plot is paper-thin, and the editing is jarring, with several scenes feeling completely out of place. That being said, there is a certain charm to the film's unabashed embrace of its low-budget nature. The tank models, for example, are comically obvious toys, but this only adds to the B-movie appeal.
One of the most significant issues with "Kaput Lager" is its lack of nuance. The film is unapologetically explicit in its depiction of violence and sexual content, but it never delves beneath the surface to explore the complexities of the human condition. The Nazis are portrayed as one-dimensional villains, while the prisoners are reduced to little more than victims. There is no attempt to understand the motivations or psychology of the characters, which makes it difficult to engage with the story on a deeper level.
The acting is forgettable, with the exception of Harrison, who brings a touch of hammy charm to the proceedings. The real star, however, is the dubbing. The familiar voices of Italian dub artists bring a sense of cohesion to the film, providing a strange sense of comfort amidst the chaos.
In conclusion, Kaput Lager is a mess of a movie. It's poorly made, morally dubious, and often downright silly. Yet, for fans of bizarre, exploitative cinema, there is a certain train-wreck appeal.
So, if you're in the mood for Nazis, nudity, and nonsense, this film may just be the perfect storm of trashy entertainment. Just don't expect a cinematic masterpiece.
The film follows Richard Harrison, who finds himself part of a ragtag group sent on a mission to destroy Nazi tanks in Africa. This premise, however, quickly takes a backseat to the real meat of the movie: the POW camp. After our 'heroes' are inevitably captured, they are taken to a prison camp run by the sadistic Gordon Mitchell, where the film descends into sleaze and degradation.
The film is undeniably cheap, with a host of technical issues. The plot is paper-thin, and the editing is jarring, with several scenes feeling completely out of place. That being said, there is a certain charm to the film's unabashed embrace of its low-budget nature. The tank models, for example, are comically obvious toys, but this only adds to the B-movie appeal.
One of the most significant issues with "Kaput Lager" is its lack of nuance. The film is unapologetically explicit in its depiction of violence and sexual content, but it never delves beneath the surface to explore the complexities of the human condition. The Nazis are portrayed as one-dimensional villains, while the prisoners are reduced to little more than victims. There is no attempt to understand the motivations or psychology of the characters, which makes it difficult to engage with the story on a deeper level.
The acting is forgettable, with the exception of Harrison, who brings a touch of hammy charm to the proceedings. The real star, however, is the dubbing. The familiar voices of Italian dub artists bring a sense of cohesion to the film, providing a strange sense of comfort amidst the chaos.
In conclusion, Kaput Lager is a mess of a movie. It's poorly made, morally dubious, and often downright silly. Yet, for fans of bizarre, exploitative cinema, there is a certain train-wreck appeal.
So, if you're in the mood for Nazis, nudity, and nonsense, this film may just be the perfect storm of trashy entertainment. Just don't expect a cinematic masterpiece.
Jesús Franco's "Shining Sex" is a daring, explicit, and sensual journey into the realm of 70s Euro-erotica. It's a film that embraces its B-movie status, delivering a strange yet compelling experience. With a prominent focus on sex and the female form, this sci-fi offering is light on plot but heavy on skin, making it an acquired taste even for fans of the genre.
The film wastes no time in setting the tone, as actress Lina Romay, a frequent collaborator of Franco's, treats viewers to a sexual striptease within the first few moments. The camera work is intimate and unflinching, leaving nothing to the imagination. This opening scene sets the precedent for the rest of the film, which continues to push the boundaries of what was acceptable on screen at the time.
While the film is marketed as a sci-fi offering, the science fiction elements are barely noticeable and often ludicrous. They serve more as a backdrop to showcase the erotic antics of the characters than as a driving force for the narrative. The plot is sparse and often takes a backseat to the explicit content, with the film feeling more like a series of sexual set pieces than a cohesive story.
That being said, there is a certain charm to the film's absurdity. It embraces its low-budget roots and leans into the bizarre, creating a unique and memorable experience. Romay's performance is confident and bold, carrying the film with her sultry screen presence.
However, the lack of a substantial narrative and the overreliance on sexual content may leave viewers feeling cheated, especially those expecting a more traditional sci-fi experience. The film's pacing is also an issue, with the plot meandering and failing to build towards a satisfying conclusion.
In conclusion, "Shining Sex" is a film that caters to a very specific taste. It's a daring, explicit, and sensual experience that pushes the boundaries of what was acceptable in cinema at the time. However, the lack of a compelling narrative and the driftless nature of the film may leave viewers feeling bored and unsatisfied.
The film wastes no time in setting the tone, as actress Lina Romay, a frequent collaborator of Franco's, treats viewers to a sexual striptease within the first few moments. The camera work is intimate and unflinching, leaving nothing to the imagination. This opening scene sets the precedent for the rest of the film, which continues to push the boundaries of what was acceptable on screen at the time.
While the film is marketed as a sci-fi offering, the science fiction elements are barely noticeable and often ludicrous. They serve more as a backdrop to showcase the erotic antics of the characters than as a driving force for the narrative. The plot is sparse and often takes a backseat to the explicit content, with the film feeling more like a series of sexual set pieces than a cohesive story.
That being said, there is a certain charm to the film's absurdity. It embraces its low-budget roots and leans into the bizarre, creating a unique and memorable experience. Romay's performance is confident and bold, carrying the film with her sultry screen presence.
However, the lack of a substantial narrative and the overreliance on sexual content may leave viewers feeling cheated, especially those expecting a more traditional sci-fi experience. The film's pacing is also an issue, with the plot meandering and failing to build towards a satisfying conclusion.
In conclusion, "Shining Sex" is a film that caters to a very specific taste. It's a daring, explicit, and sensual experience that pushes the boundaries of what was acceptable in cinema at the time. However, the lack of a compelling narrative and the driftless nature of the film may leave viewers feeling bored and unsatisfied.