Coventry
Joined Nov 2002
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"Tony Arzenta" was supposed to be my "tribute" movie to watch when Alain Delon passed away in August 2024. I have this tradition to honor a deceased cinema deity by watching/reviewing at least of their lesser known (but hopefully worthwhile) movies. "Diabolically Yours" or "Death of a Corrupt Man" were more than decent alternatives that I already had in my collection, but I absolutely wanted "Tony Arzenta" and it took me longer to find and order it. Nevertheless, rest in peace, Mr. Delon, and thanks for all the great movies!
The main reason for me to track down "Tony Arzenta" was because it's Alain Delon starring in an authentic & unhinged "Poliziotesschi" crime-thriller! Made in Italy, released in the glorious year 1973, and featuring a stellar supportive cast with names like Ricard Conte, Anton Diffring, and Marc Porel. And, knowing that the man in the director's chair was Duccio Tessari ("The Bloodstained Butterfly", "Death Occurred Last Night"), you can also rest assured the movie would be stylish and intense. The story is probably the oldest and most overused one in crime/action-cinema history. The multi-skilled hitman of the mafia wishes to retire, because the job endangers his beloved family, but the powerful patriarchs of the mob clans don't like the idea. Tony tragically loses his wife and young son in a car bombing that was meant for him, and blood vengeance is the only thing left to live for.
Familiar and derivative, indeed, but always fascinating to behold AND the ideal excuse to enjoy spectacular car chases, brutal executions, ambushes, and plain old-fashioned ultra-violence. Delon is perfect as the embittered avenger, the soundtrack is excellent, and the ending is shockingly downbeat. Tessari surprises with a few unexpected but sublime directorial touches that his compatriot but "trashier" Poliziotesschi directors (like Umberto Lenzi or Fernando Di Leo) wouldn't do, for instance cutting from the end of a chase to the point where someone finds the dead bodies; - actually leaving out the bloody shootout. My sole complaint regarding "Tony Arzenta" is that the roles of marvelous Italian cult actress Erica Blanc and Rosalba Neri are too small.
The main reason for me to track down "Tony Arzenta" was because it's Alain Delon starring in an authentic & unhinged "Poliziotesschi" crime-thriller! Made in Italy, released in the glorious year 1973, and featuring a stellar supportive cast with names like Ricard Conte, Anton Diffring, and Marc Porel. And, knowing that the man in the director's chair was Duccio Tessari ("The Bloodstained Butterfly", "Death Occurred Last Night"), you can also rest assured the movie would be stylish and intense. The story is probably the oldest and most overused one in crime/action-cinema history. The multi-skilled hitman of the mafia wishes to retire, because the job endangers his beloved family, but the powerful patriarchs of the mob clans don't like the idea. Tony tragically loses his wife and young son in a car bombing that was meant for him, and blood vengeance is the only thing left to live for.
Familiar and derivative, indeed, but always fascinating to behold AND the ideal excuse to enjoy spectacular car chases, brutal executions, ambushes, and plain old-fashioned ultra-violence. Delon is perfect as the embittered avenger, the soundtrack is excellent, and the ending is shockingly downbeat. Tessari surprises with a few unexpected but sublime directorial touches that his compatriot but "trashier" Poliziotesschi directors (like Umberto Lenzi or Fernando Di Leo) wouldn't do, for instance cutting from the end of a chase to the point where someone finds the dead bodies; - actually leaving out the bloody shootout. My sole complaint regarding "Tony Arzenta" is that the roles of marvelous Italian cult actress Erica Blanc and Rosalba Neri are too small.
Ah, bears ... Love them! Black, grizzly, or polar, I absolutely love them! Next to sharks, and perhaps also crocodiles, bears are my favorite animals in my favorite horror subgenre of "man-vs-nature" flicks! Of course, I might have to be less enthusiast and slightly more respectful in the case of "Backcountry". This isn't, say, "Into the Grizzly Maze" or "Cocaine Bear", but an actual true story. Two people really went through these nightmarish events and faced a voracious black bear in a National Park in Canada, which cost one precious human life.
The "true story" element is evidently also the reason why you shouldn't expect a non-stop spitfire of outrageous bear attacks or suspenseful chases through the forest. In fact, the film is already well over halfway before the imposing animal even sniffs - literally - on the screen. That doesn't mean "Backcountry" is boring or unworthwhile during the first 50 minutes, though. Thanks to the astonishing Ontario filming locations, the admirable performances of both Jeff Roop and Missy Peregrym, an effectively tense sub plot involving a creepy tour guide, and the skillful direction by Adam MacDonald, this slow-paced thriller remains engaging.
The "true story" element is evidently also the reason why you shouldn't expect a non-stop spitfire of outrageous bear attacks or suspenseful chases through the forest. In fact, the film is already well over halfway before the imposing animal even sniffs - literally - on the screen. That doesn't mean "Backcountry" is boring or unworthwhile during the first 50 minutes, though. Thanks to the astonishing Ontario filming locations, the admirable performances of both Jeff Roop and Missy Peregrym, an effectively tense sub plot involving a creepy tour guide, and the skillful direction by Adam MacDonald, this slow-paced thriller remains engaging.
If there's one loss the worldwide community of cult/horror fanatics should continue to mourn, it's the untimely and accidental death of William Girdler. Girdler died in a helicopter crash when he was only 30 years old, but by that time he had already directed NINE films. Granted, most of those are low-budgeted rip-offs of more famous titles and his style was very rough-around-the-edges, but his entire oeuvre is versatile and very entertaining. Imagine, with his creativeness and high productivity, what he could have contributed to the genre in the 80s and 90s!
"The Zebra Killer" is not my favorite film of his - nothing beats "Grizzly" or "Three on a Meathook" - but it's nevertheless another solid thriller with suspense and a couple of shocking moments. It's part Blaxploitation and part "Dirty Harry" knockoff, but also 100% Girdler ingenuity given the plot of a white racist serial killer who disguises as a black hoodlum to commit his murders. Hence the title, by the way, no zebras were harmed during the making of this film.
Tough Louisville homicide copper Frank Savage knows there'll be trouble when he finds a note near a murdered body that says: "one down, thirteen to go". A sadist cat and mouse game unfold, and Savage's girlfriend even gets kidnapped before he realizes the killer is seeking payback for an old case. Girdler's filming style is rushed and unpolished as usual, and the plot features slightly too many dull conversations and a monotonous Blaxploitation soundtrack. The highlights of sheer brutal violence compensate for these flaws, though, including a scene in which the killer relentlessly pushes a lady down a flight of stairs in a chariot, or when he shoots a random woman with his sniper gun just to get Lt. Savage's attention. There's also a clever recurring action/suspense moment caused by the killer joking that he could even walk up to Lt. Savage and ask him for a match without him knowing he's the killer. Of course, this is put to the test.
"The Zebra Killer" is not my favorite film of his - nothing beats "Grizzly" or "Three on a Meathook" - but it's nevertheless another solid thriller with suspense and a couple of shocking moments. It's part Blaxploitation and part "Dirty Harry" knockoff, but also 100% Girdler ingenuity given the plot of a white racist serial killer who disguises as a black hoodlum to commit his murders. Hence the title, by the way, no zebras were harmed during the making of this film.
Tough Louisville homicide copper Frank Savage knows there'll be trouble when he finds a note near a murdered body that says: "one down, thirteen to go". A sadist cat and mouse game unfold, and Savage's girlfriend even gets kidnapped before he realizes the killer is seeking payback for an old case. Girdler's filming style is rushed and unpolished as usual, and the plot features slightly too many dull conversations and a monotonous Blaxploitation soundtrack. The highlights of sheer brutal violence compensate for these flaws, though, including a scene in which the killer relentlessly pushes a lady down a flight of stairs in a chariot, or when he shoots a random woman with his sniper gun just to get Lt. Savage's attention. There's also a clever recurring action/suspense moment caused by the killer joking that he could even walk up to Lt. Savage and ask him for a match without him knowing he's the killer. Of course, this is put to the test.