Viva Mexico Month II Quick Picks and Pans

 

Rapiña (1975) Porfirio (Ignacio López Tarso), a poor woodcutter, witnesses an airplane crash in the mountains near his home. He picks through the bodies and wreckage for valuables, hording his collection in a nearby cave. He brings his brother-in-law, Evodio (Germán Robles), to the crash site, to gather more of the dead’s belongings before the authorities arrive. Porfirio’s lofty ambitions for his family quickly erode into madness, as his greed gives into paranoia and eventually murder. Much like his brilliant later film, Poison for the Fairies (1982), writer/director Carlos Enrique Taboada has constructed another insightful, mesmerizing study of the worst aspects of human nature. 

Rating: ****. Available on Blu-ray (included in the Vinegar Syndrome box set, Mexican Gothic: The Films of Carlos Enrique Taboada) and DVD (Out of print)

Museo (2018) In this fictionalized account of a real-life incident, two bored 20-something ne’er-do-wells, Juan and Benjamin (Gael García Bernal and Leonardo Ortizgris, respectively) perpetrate a heist of several priceless artifacts from the Museo Nacional de Antropología in Mexico City. The initial thrill turns into desperation as they unsuccessfully attempt to sell the hot items, while evading a nationwide manhunt. Beyond the ingenuity of the initial heist, it becomes clear that they’re completely out of their depth. Director/co-writer Alonso Ruizpalacios focuses on the dynamic between the two young men, with Juan as the dominant mastermind and Benjamin as his reluctant accomplice. This compelling character study is much less interested in trying to answer why they did what they did, choosing instead to explore the ramifications of one bad decision after another.   

Rating: ****. Available on Blu-ray and DVD

Scherzo Diabolico (2015) Aram (Francisco Barreiro), a meek accountant, is tired of being a doormat for his dead-end job and estranged wife. One day, he succumbs to the pressures of his unfulfilling life, hatching a scheme to get even with his boss. He kidnaps the boss’s teenage daughter, setting a chain of strange events in motion. As his boss’s life crumbles, Aram’s fortunes improve, with a promotion (his boss’ old position), a bigger salary and a fling with his secretary. But hell hath no fury like a captive teenage girl, who unleashes her revenge against him and his family. What begins as a pitch-dark comedy gradually devolves into a blood-soaked horror thriller. Depending on your tastes, the visceral third act will either suck you in or turn you off. Tread carefully.   

Rating: ***½. Available on Blu-ray (Region B), DVD and Tubi

Shadow of the Pepper Tree (aka: Wild Blue Moon) (1992) Co-writer/directors Francesca Fisher and Taggart Siegel present a cautionary tale, set in rural Mexico, circa 1968. Luna (Mayra Serbulo) the daughter of a powerful village witch (Socorro Avelar) sets out on her own when her mother refuses to instruct her on the ways of magic. She establishes her own practice and falls in love with an ex-patriot American artist (Thom Vernon). He abandons her when he learns she’s pregnant, becoming involved with a dancer in town. She plots her revenge against him and everyone else in his circle, but as she soon learns, evoking black magic comes with serious consequences. Mayra Serbulo impresses in her nuanced performance as a young woman whose ambitions exceed her grasp of the power she wields. 

Rating: ***½. Available on Tubi

The Bat Woman (1968) Gloria (Maura Monti) is a wealthy socialite who moonlights as the masked luchador/crime fighter Bat Woman. She battles her archenemy Dr. Williams (Roberto Cañedo), a mad scientist who wishes to create an army of unstoppable fishmen.  I have no idea how this got made, considering the obvious parallels to the Batman series, but I’m sort of glad it exists (her skimpy outfit clearly mimics the costumes worn by her American counterpart, albeit with about 70 percent less material). Despite the obvious copyright infringement, it’s harmless, silly fun.

Rating: ***. Available on Blu-ray 

Night of 1,000 Cats (1972) René Cardona Jr’s horror thriller plays like a twist on Bluebeard and The Most Dangerous Game, with a Euro-horror flair. Hugo Stiglitz stars as Hugo, a millionaire playboy with a disturbing hobby. He seduces young women, luring them to his sprawling estate and killing them, so he can keep their heads as trophies. The leftover bits are fed to the titular cats that he keeps locked up in a pit (I think you can see where this is going). It’s predictable and not terribly original, but worth a look for the audacious plot and Stiglitz’s deranged performance.   

Rating: ***. Available on DVD and Tubi

Halley (2012) Alberto (Alberto Trujillo) suffers from an unspecified degenerative disease that’s causing his body to decompose. He works as a security guard at a gym, where his sickly, emaciated form contrasts sharply with the health-minded people working out. His boss (Luly Trueba) takes an interest in him, vainly trying to enjoy life’s simple pleasures. The film moves at a deliberate pace, which seems to match Alberto’s slow movement. It’s a painful portrait of a man incapable of enjoyment, which doesn’t spare us the sordid details of his condition. While difficult to watch, it features an excellent, fearless performance by Trujillo (He was so convincing, I had to check online to see if he’s all right. Don’t worry, he’s okay.). It’s not a film I would readily recommend, unless you’re a connoisseur of misery. 

Rating: ***. Available on Tubi

Don’t Panic (1987) Here’s another head-scratcher from writer/director Rubén Galindo Jr. the same director who brought us the bonkers Cemetery of Terror (1985).* Michael (Jon Michael Bischof) is an ordinary high school student whose birthday party goes wrong in a hurry. Some friends bring out a Ouija board, summoning demonic forces. One of his classmates embarks on a killing rampage, while Michael sees visions of the murders (his eyes glow red). No one believes him, as he runs around in dinosaur pajamas, screaming like a banshee. None of this makes much sense, but it’s entertaining throughout. There’s always something to doubt your sanity over, including the bizarre twist ending that might just make your head explode. 

* Fun Fact: If you haven’t seen Cemetery of Terror, don’t worry, the filmmaker manages to throw in some scenes from his previous movie. 

Rating: **½. Available on Blu-ray

Santo vs. the Riders of Terror

 

(1970) Directed by René Cardona; Written by René Cardona and Jesús Murcielago Velázquez; Starring: Santo, Armando Silvestre, Julio Aldama, Mary Montiel, Gregorio Casal, Ivonne Govea and Carlos Agostí; Available on Blu-ray and DVD 

Rating: ***

 

“Being locked up in there was like being buried alive. It’s hardly a life at all. We want to die in the open air. That’s all.” – José (Gregorio Casal)

“There’s an even greater danger, doctor – mass hysteria amongst the townsfolk, those people infecting other pour souls, and not being able to do anything to stop it.” – Santo

Even if you know nothing about Santo, lucha libre, or professional wrestling in general, you’ve doubtlessly heard of Santo, the silver masked man. Santo (real name: Rodolfo Guzmán Huerta) enjoyed a prolific film career* outside the ring, starring in more than 50 movies from the late ‘50s to the early ‘80s. Over the years, he faced a diverse array of adversaries, including Frankenstein’s monster, vampires, werewolves, Martians, and international spies. In Santo vs. the Riders of Terror (aka: Santo Contra Los Jinetes Del Terror), our hero** faced a different kind of antagonist: ignorance and fear. There was also a spicier “international” version under the curious title Lepers and Sex (aka: Los Leprosos y el Sexo), but more on this in a moment… 

* Fun Fact #1: Although Santo was the most famous lucha libre star to make the transition from ring to screen, he was initially reluctant to appear in movies. 

** Fun Fact #2: While Santo made his mark in the wrestling arena and films as a hero (aka: “técnico”), he initially started out as a “rudo,” or villain.

Santo’s* latest adventure brings him to the old west. How did he get there? Did he invent a time machine to fight injustice in the 19^th century? Or is he the original Santo, first in a long line of Santos? So many questions, so few answers (perhaps we should just move on). The peace in a small town is disrupted when several individuals suffering from leprosy escape from their hospital compound. Panic ensues amongst the townspeople, as the patients make their way through the residents' homes, searching for food and supplies. It doesn’t take long to realize that the real villain of our story is Camerino (Julio Aldama), stirring up fear and distrust within the community, setting up the escaped patients as perfect scapegoats. Camerino’s rhetoric about taking matters into their own hands doesn’t sit well with Dario, the sheriff (Armando Silvestre), who might be in over his head. Thankfully, hope has arrived in the form of our silver-masked hero Santo, who brings his own brand of frontier justice. Meanwhile, Camerino hatches a scheme to manipulate the leprosy victims for his own selfish ends. Can Santo protect the town, prevent the senseless murder of the patients,** and defeat Camerino and his gang of outlaws? Hint: If you didn’t answer “yes,” you’ve likely never seen a Santo movie. 

* Fun Fact #3: Even if you watch a Santo movie in Spanish (as nature intended), you’re not hearing his actual voice. Santo was dubbed by several different actors over the years, with Óscar Morelli providing his voice for Santo Contra Los Jinetes Del Terror. 

** Interesting Fact (Spoiler Alert): At the film’s conclusion, Santo proclaims that a cure exists for leprosy. The only problem is that a reliable treatment (requiring a combination of drugs) wasn’t discovered until the early 1980s, roughly a century after the events depicted in the movie (Perhaps my theory about Santo being a time-traveler from the future wasn’t wrong).

Compared to some of his other adventures, you’d think people suffering from Hansen’s disease (leprosy) might not be the most compelling adversaries, but I’d blame the misleading title. While Camerino presents the leprosy patients as a boogeyman to the already frightened townspeople, he pretends to be the patients’ ally, only to implicate them in the murders and thievery inflicted by his gang. What he didn’t count on was our hero, who relies on his ingenuity (and formidable wrestling skills) to right wrongs. Since this is a Santo movie, you can bet there will be a wrestling match or two, but this time around, Santo’s wrestling scenes appear more contrived than usual. Film historian David Wilt speculated that the film might have been originally envisioned as a stand-alone western, before Santo was shoehorned into the plot. It’s tough to disagree with this position, considering Santo’s opponents in two fight scenes likely wouldn’t be more than a mild annoyance to the seasoned luchador.

Producer Guillermo Calderón jumped on the bandwagon for a short-lived trend in late ‘60s/early ‘70s Mexican filmmakers, who created versions exclusively for export.* Consequently, Calderón and director René Cardona added six minutes of sex scenes to the family-friendly Santo vs. the Riders of Terror, resulting in the more adult-oriented, Lepers and Sex.** Apparently fearing Santo’s status as a Mexican cultural icon wouldn’t translate to international audiences, Calderón added some enticement beyond the silver-masked man to sell movie tickets. Whether you think it’s a shrewd or cynical business move, the alternate cut indisputably exists (thanks to the deluxe Blu-ray edition from Indicator). Do these scenes help the plot, or move the story forward? No, not really, but not to “yuck” anyone’s “yum,” if you prefer your Santo movies a little more picante, this alternate version might fit the bill. Regardless of which one you prefer, after years of seeing poorly dubbed prints or versions with unwelcome snarky commentary, it’s a bit of a revelation to have not one, but two complete, unadulterated versions for your viewing pleasure. 

* Fun Fact #4: Prior to Riders of Terror, Calderón production of Santo in the Treasure of Dracula (1969) experienced a similar treatment, with a softcore export version (El Vampiro y el Sexo). 

** Fun Fact #5: The decision to create a softcore version was not without some controversy, with rumors that Santo didn’t know about what was going on behind the scenes (Santo, himself, never appears in the sex scenes), but this just doesn’t hold water. Considering that he was one of the co-producers, it’s unlikely the decision was made without his knowledge or input.

Don’t look for moral ambiguity in Santo vs. the Riders of Terror. As is de rigueur for the silver-masked man the heroes and villains are clearly delineated, with Santo and sheriff Dario standing for what’s good and just, and Camerino representing the evils of society. Despite the lurid, misnomer-laden title, the film takes a surprisingly even-handed approach to the unfortunate characters suffering from leprosy (perhaps a more representative title could have been Santo vs. Public Ignorance). As Santo’s only western (not to mention the aforementioned alternate cut), Santo vs. the Riders of Terror is a bit of an outlier, but an otherwise worthy entry in the luchador’s filmography.  

 

Sources for this article: Commentary by Film Historian David Wilt; “El Santo vs. Mystery Science Theater 3000,” by Emily Rauber Rodriguez, The Velvet Light Trap (Number 85, Spring 2020); The World of Lucha Libre, by Heather Levi

 

The Adventure-a-Thon Wrap-up

 

Well, folks, the Adventure-a-Thon is coming to an end, but oh what a blogathon it’s been! With more than 30 participants from around the globe, it’s been one of our most successful events yet. Thanks to everyone who made it happen – we couldn’t have done it without you. An extra-special thanks goes out to my wonderful co-host, Gill, for going above and beyond to spread the word about the blogathon, and for keeping everything on track. Shameless plug: Gill and I will be hosting our second blogathon of the year this December, so watch for our announcement in the next few months. We’d love to have you all back.

But wait, it’s not over yet… We had a last-minute flurry of posts, which you can enjoy below, along with links to recaps from the past three days. We hope you enjoy them as much as we enjoyed bringing them to you.

Thanks to everyone who entered the Seventh Voyage of Sinbad Blu-ray contest. While I wish I could give everyone a prize, there can only be one winner, and the winner is (Drum roll, please)… Stacia from She Blogged by Night. Congratulations! Please email me at barry_cinematic@yahoo.com to claim your prize.

P.S., for anyone who was wondering about responses about their favorite Harryhausen flick, it was a toss-up between Clash of the Titans (1981) and Mysterious Island (1961).

In addition to today’s links, be sure to visit the Day 1, 2, and 3 Recaps: 

Day 1

Day 2

Day 3

 

Fasten your seatbelt, make sure your chair is locked in an upright position, and prepare for Kristina at Speakeasy’s review of The Flight of the Phoenix (1965). https://hqofk.wordpress.com/2025/05/04/flight-of-the-phoenix-1965/

 

Kayla at Whimsically Classic invites you to set sail on The African Queen (1951). https://whimsicallyclassic.com/2025/05/04/adventure-a-thon-the-african-queen-1951/

 

Rebecca from Taking Up Room takes a gander at Bela Lugosi in The Return of Chandu (1934). https://takinguproom.com/2025/05/04/the-return-of-chandu/

 

Sally Silverscreen from 18 Cinema Lane invites you to enjoy A Little Romance (1979). https://18cinemalane.com/2025/05/04/take-3-a-little-romance-1979-review/

 

Tigerhearts Tales from  Films & the View from Inside My Head shares her thoughts about The Brain (aka: Le Cerveau) (1969). https://tigerheartstales.wordpress.com/2025/05/05/four-men-one-woman-a-leopard-and-a-whole-lot-of-money/

 

  

The Adventure-a-Thon is Here – Day 3 Recap and Contest Reminder

Whew! We’ve finally reached Day 3 of the Adventure-a-Thon, hosted by Yours Truly and Gill from Realweegiemidget Reviews, and what a batch of posts we have in store for you. We’d like to extend a big thanks to everyone who’s joined us, so far. We couldn’t have done it without all of you! Be sure to return tomorrow for the Wrap-up post, including my announcement of the winner of the Seventh Voyage of Sinbad Blu-ray! Psst… There’s still time to enter the contest (see rules below). If you’d like to enter the contest, please respond no later than 8 am (Pacific Time), Monday, May 5^th.

Contest Reminder: As an added “thank you” to those who have contributed posts to the Adventure-a-Thon, I will be hosting a contest in which one lucky blogathon participant will be randomly selected to win a brand-new, all-region Blu-ray copy of the Ray Harryhausen’s timeless adventure classic, The Seventh Voyage of Sinbad (1957). Please read the following contest rules, if you would like to be considered for the giveaway: 

1.     Please email me if you wish to be considered, at: barry_cinematic@yahoo.com, with the following info:

·       Your Name, Blog Name

·       Your answer to the following question: “What’s your favorite Ray Harryhausen movie?” Note: Although an answer is required for eligibility purposes, stating a Harryhausen title different from The Seventh Voyage of Sinbad will not increase or decrease your chances of winning. Responses will be compiled and posted when the winner is announced during Monday’s wrap-up post.

2.     Eligibility is limited to blogathon participants only (you must have submitted a blog post to win).

3.     Sorry, the contest is only open to blogathon participants in the U.S.A, Canada, and Mexico.

4.     Good luck! 

 

In addition to today’s links, be sure to visit the Day 1 and Day 2 Recaps:

Day 1

Day 2

 

Blast off with Terence Towles Canote (from A Shroud of Thoughts) and The Rocketeer (1991).

Debra Vega from Moon in Gemini takes a Journey to the Center of the Earth (1959).

 

John Williams from Film Hydra returns to face The Assassination Bureau (1969). 

Black Cats & Poppies uncovers The Mystery of Thug Island (1964).

May the 4^th be with you, as John Harmon from Tales from the Freakboy Zone revisits where it all started, with Star Wars: A New Hope (1977). 

Emily from The Flapper Dame takes a look at Hatari! (1962). 

 

Cat from Thoughts All Sorts brings us a double bill of James Bond and Robin Hood, with her reviews of Casino Royale (2006) and Robin Hood (2010).  

 

Eric from Diary of a Movie Maniac reminds us It’s a Mad, Mad, Mad, Mad World (1963), and catches up with The Great Race (1965) 

 

J-Dub from Dubsism finds another sports analogy in The Blue Lagoon (1980). 

Rachel from Hamlette’s Soliloquy takes a trip down memory lane with The PrincessBride (1987). 

 

…And finally, I conure my review of the William Friedkin masterpiece, Sorcerer (1977). 

 

 

See you tomorrow…

Sorcerer

 

(1977) Directed by William Friedkin; Written by Walon Green; Based on the novel The Wages of Fear, by Georges Arnaud; Starring: Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou, Ramon Bieri, Peter Capell, Karl John and Friedrich von Ledebur; Available on Blu-ray and DVD 

Rating: *****

This post is part of the Adventure-a-Thon, hosted by Gill Jacob from Realweegiemidget Reviews and Yours Truly. Be sure to check out all the terrific posts from a talented bunch of bloggers.

“…the story, to me, was about the mystery of fate, the role that fate plays in the lives of all of us. And I had made a film, in The Exorcist, about the mystery of faith, and I now wanted to make a film that had no supernatural element to it, but was about the mystery of fate – the fact somebody can walk across the street, feeling in the peak of health, and get hit by a car, that we have no control over our destinies…” – William Friedkin (from 2015 interview with Nicolas Winding Refn)

“We're carrying three cases each. One is enough to blow out your fire, six cases will blow out the whole field. That means you don't think all the trucks will make it, one of us is a backup.” – Jackie Scanlon (Roy Scheider)

 

Henri-Georges Clouzot’s landmark 1953 French film The Wages of Fear (based on the novel by Georges Arnaud), explored the timeless universal theme of desperate men taking desperate measures to achieve a common goal. Filmmaker William Friedkin, hot off two massive Hollywood hits, The French Connection (1972) and The Exorcist (1973), chose the source material as the basis for his follow-up film, Sorcerer.* Co-financed by Universal and Paramount, and filmed in the Dominican Republic and Mexico** from a script by Walon Green (The Wild Bunch), Friedkin and the studios figured they had another hit on their hands. Unfortunately for Friedkin and the studios, instead of knocking it out of the park with another win, Sorcerer died a quick death at the box office,*** failing to connect with audiences or critics. As is the case with so many films covered on this blog, time has vindicated William Friedkin’s intensely human jungle drama, which has only grown in esteem over the years. 

* Fun Fact #1: According to Friedkin, he thought of the controversial film title while listening to Miles Davis’ album, “Sorcerer.” In this case, the titular evil wizard was fate itself. 

** Not-So-Fun-Fact #1: Aside from the daunting logistics of a location shoot and budget concerns nature took its toll on the crew. Friedkin contracted malaria toward the end of the shoot, and fifty crew members had to leave the production after suffering from gangrene and other maladies. 

*** Not-So-Fun Fact #2: After its initial failure at the box office, Sorcerer was re-edited by its international distributor, CIC, and re-released under the title The Wages of Fear, ultimately resulting in a lawsuit by Friedkin to retrieve his original cut.

We’re introduced to the four primary characters through the opening scenes: Nilo (Francisco Rabal), a ruthless assassin in Vera Cruz, Mexico; Victor Manzon (Bruno Cremer), a businessman accused of embezzlement in Paris, France; Kassem (Amidou), a terrorist in Jerusalem; and Jackie Scanlon (Roy Scheider),*/** a wheelman in the botched heist of a cathedral in New Jersey. Now on the run from various authorities, the four men end up, under assumed names, in the sleepy village of Porvenir, in an unspecified South American country, where people go when they want to fall off the face of the Earth (“It’s the kind of place nobody wants to go looking”). “Carlos,” (Friedrich von Ledebur) an escaped Nazi, tends bar in Porvenir, while corrupt police officers lord over the town. The impoverished locals rely on work from a nearby oil well, run by an American company. After a disastrous explosion at the site, resulting in the deaths of several townspeople, the company is eager to resume operations, but in order to do that they need to use dynamite to stop the resulting out-of-control fire. The dynamite in question, due to careless storage practices, is disintegrating, leaking highly volatile nitroglycerin. Although any excessive jostling or movement will set it off, it must be transported from 200 miles away, through uneven roads winding through dense jungle. Attempting to transport the dynamite is tantamount to a suicide mission, so the company must find men desperate enough to put their lives out on the line for the promise of a big paycheck. Stuck in the middle of nowhere with no means of leaving and nothing to lose, the four men rise to the challenge in two questionable vehicles (the film’s title refers to the name of one of the ramshackle trucks). 

* Fun Fact #2: The script was originally written with Steve McQueen in the lead role of Scanlon. While initially excited by the prospect of doing the film, McQueen ultimately passed on Sorcerer after Friedkin refused to meet his conditions, which included making his wife Ali McGraw executive producer. 

** Fun Fact #3: Friedkin’s only casting choice that made the cut was Moroccan actor Amidou (Kassem/Martinez). Marcello Mastroianni (as Victor Manzon) and Lino Ventura (as Nilo) backed out of the production.

The always watchable Roy Scheider hits the right notes as Scanlon, a character as far removed from the hero type as could be. As the wheelman on a failed heist and on the run from the mob, he’s done questionable things, but you can’t help but feel sympathy for his predicament. The same goes for his accidental cohorts, who are equally unsavory people, but bound together by a task with improbable odds. As Friedkin pointed out, the disparate characters are a metaphor for the troubled world. Despite their considerable differences, they need to cooperate or die. They are unquestionably antiheroic, yet their humanity shines through, conveying vulnerability, fear, and self-doubt (behind a façade of bravado).

Conflict is the driving force behind Sorcerer, with man against man, man against himself, and man against nature. Friedkin compels us to put ourselves in the shoes of these men, living in a place where life is cheap. We’re right with them, in one jaw-dropping scene after another, as they narrowly escape oblivion. Putting aside their petty disputes and working together towards a common goal is essential if they hope to survive. The much-touted scene where the party is forced to cross a rickety bridge over rushing waters is as tense and harrowing as its reputation suggests. Amidst heavy rain and the treacherous, churning river below, they have no alternative but to cross the swaying bridge, which threatens to collapse at any second.* In a tense scene, when an enormous fallen tree trunk blocks their progress, the team are forced to use their collective ingenuity, along with a case of dynamite, to clear the way. The music by German group Tangerine Dream** propels the action and enhances the tension, contributing to the film’s raw energy. 

* Not-So-Fun-Fact #3: While shooting the complicated scene in Tuxtepec, Mexico, four stuntmen were injured in what was then touted as “the most dangerous stunt attempt in film history,” when their 16-ton truck drove off the bridge. 

** Fun Fact #4: Tangerine Dream’s haunting, synth-heavy score was composed and recorded in an abandoned Bavarian church before the film was made. Friedkin stated that he cut the film to the music.

Sorcerer is the consummate “sweaty palms” movie, with potential calamity looming around every corner, forcing the viewer to put themselves in the place of the characters. While Friedkin expressly stated that he didn’t want supernatural elements in his film, there is an almost unworldly aura surrounding everything, with people battling forces (social, political and elemental) that are entirely beyond their control. Perhaps this could be extended towards the film’s initial negative reception, as well. It’s a case of the right movie at the wrong time, with the wrong title. There are many possible reasons why Sorcerer underperformed upon its release, including a conspicuous lack of traditionally likeable characters, few recognizable names (with the exception of Scheider), and the misfortune of being released around the same time as Star Wars.* But the nail in the coffin was most likely the title, suggesting a fantasy film. All of this aside, the old Hollywood adage that “no one knows anything” still holds true. Even if the stars aligned with the perfect release date, a cast of bankable stars, and perfect title, nothing would have ensured Sorcerer’s success. Fortunately, due to home video and positive word-of-mouth, Sorcerer has enjoyed a major reassessment over the years. With the benefit of hindsight, Sorcerer was way before its time, belatedly establishing its rightful place in cinema history as a true classic 

* Fun Fact #5: Reflecting on Sorcerer’s failure at the time, Friedkin commented: “The zeitgeist was changing. It came out a week after Star Wars, and Star Wars really changed the way people think about, ‘What is a movie?’ Right to this day, and beyond. All these films about the Avengers and the Transformers, video games and comic books, that’s what, for the most part, Hollywood cinema has become. That just automatically opened the floodgates to people wanting pure entertainment that could be seen by people of all ages, basically. Would my film have worked if there was no Star Wars? I don’t know. But without “Star Wars,” I think American film would be different today.” 

 

Sources for this article: “William Friedkin in Conversation with Nicolas Winding Refn on Sorcerer” (2015); “Sorcerer Stunt Attempt Injures Four in Mexico,” Boxoffice, Jan. 24, 1977; “I thought I was bulletproof: William Friedkin Looks Back at the ‘70s,” New York Times, April 29, 2013; “Sorcerer Switch,” Screen International, Nov. 19, 1977; “Moxie, Not Magic, Conjured Sorcerer,” by William Friedkin, Variety, May 10, 2016

 

 

 

The Adventure-a-Thon is Here – Day 2 Recap

 

We’re back with Day 2 of the Adventure-a-Thon, hosted by Yours Truly and Gill from Realweegiemidget Reviews. We have more wonderful posts in store for you today, but first, a quick reminder, in case you missed it… 

Contest Reminder: As an added “thank you” to those who have contributed posts to the Adventure-a-Thon, I will be hosting a contest in which one lucky blogathon participant will be randomly selected to win a brand-new, all-region Blu-ray copy of the Ray Harryhausen’s timeless adventure classic, The Seventh Voyage of Sinbad (1957). Please read the following contest rules, if you would like to be considered for the giveaway: 

1.     Please email me if you wish to be considered, at: barry_cinematic@yahoo.com, with the following info:

·       Your Name, Blog Name

·       Your answer to the following question: “What’s your favorite Ray Harryhausen movie?” Note: Although an answer is required for eligibility purposes, stating a Harryhausen title different from The Seventh Voyage of Sinbad will not increase or decrease your chances of winning. Responses will be compiled and posted when the winner is announced during Monday’s wrap-up post.

2.     Eligibility is limited to blogathon participants only (you must have submitted a blog post to win).

3.     Sorry, the contest is only open to blogathon participants in the U.S.A, Canada, and Mexico.

4.     Good luck!

If you’ve signed up, but your post isn’t quite ready, fear not. We’ll post your link on Day Three or the bonus-day “Wrap-up.” Post a comment below, email me at barry_cinematic@yahoo.com, or reach me on BlueSky (@barrycinematic.bsky.social), Instagram (@barry_cinematic), or Twitter/X (@barry_cinematic). You may also contact Gill by commenting on her post, through her blog’s Contact Me page, or on Bluesky (@realweegiemidge.bsky.social).

Here are Day 2’s submissions below, and in case you’ve missed yesterday’s post, you can catch up on Day 1 here.

Is Lucio Fulci and sword & sorcery a match made in heaven? John Williams from Film Hydra tells us what he thinks of Conquest (1983). 

Lê from Crítica Retrô takes us on a trip to the netherworld, for her review of Inferno (aka: Dante’s Inferno) (1911). 

 

Craig from What the Craggus Saw returns to dazzle us with his review of Stardust (2007).

You can read Ryan Ritter’s (at Crittical Analysis) take on Edge of Tomorrow (2014) today. 

 

Travel through time with Scampy from Spirochaetetrail, as we follow The Navigator:A Medieval Odyssey (1988). 

 

Emma from Nitrate Glow looks at Robin Hood, Hammer style, in The Sword ofSherwood Forest (1960). 

David Ferguson of Movies Reviews from the Dark finds The Lost City of Z (2016). 

  

See you tomorrow…