#Joseph Sommer

[clemsfilmdiary]

Target (1985, Arthur Penn)

6/27/23

[weirdlookindog]

Gli orrori del castello di Norimberga (1972) - Italian poster

[air-rising]

Le jour de la photo de classe 🤓

[fearsmagazine]

WILD EYED AND WICKED - Review

DISTRIBUTOR: Gravitas Ventures

SYNOPSIS:  In a family haunted by a menacing medieval creature for generations, Lily Pierce grapples with the childhood loss of her mother, Silvia. Her therapist and girlfriend offer support as she navigates the pain of the anniversary of her mother's death. Encouraged to confront her past, Lily accepts an invitation from her estranged father, a disgraced history professor, to visit the farm where she grew up. To overcome the haunting presence, Lily must discover the strength and courage of a bygone era, a time when armored knights bravely faced and vanquished monsters.

REVIEW: Filmmaker Gordon S Foxwood sets out to tell a story that attempts to deconstruct a contemporary tale of knights and demons as a heroine grables with her mother’s demons, aided by her father and friend.

At its core, the WILD EYED AND WICKED exhibits influences from screenwriter Richard LaGravenese's "The Fisher King" and similar stories of the genre. Lily grapples with relationship issues and family trauma, but her psyche remains relatively stable compared to Parry in "The Fisher King." She embodies some aspects of both Parry and Jack Lucas. After encountering her mother's armor, letters, and pages from an old book about a demon, Lily ventures into the forest to confront the demon. The final act shifts the focus towards her relationships with her father and girlfriend. Ultimately, a collective effort is needed for Lily to break through and confront the demon. Director Foxwood does a commendable job of balancing these elements, but the film lacks fresh or compelling aspects to keep viewers engaged. Additionally, some of the dialogue feels insincere or unnecessary, and the story's lack of surprises diminishes its impact.

While the film features an attractive location and decent costumes, it falls short in several other areas. The cinematography is often very dark. The props lack authenticity due to insufficient aging. The editing pace is slow, featuring Lily’s excessive phone and laptop screen time. Lengthy dialogue scenes between Lily and her father utilize basic framing and methodical cutting, further contributing to the sluggish pacing. Numerous flashbacks to young Lily and her mother aim to provide background, but they ultimately slow down the narrative. The jump scares feel ineffective due to mistimed setups and poor execution. The obligatory montage sequence before the battle lacks energy and enthusiasm. The fight sequence is underwhelming, partly attributed to the simplistic demon design devoid of menace, the lackluster choreography and the sluggish editing.

Despite not being terrible, the performances failed to captivate this viewer. While the tale's depressing themes are appreciated, the characters lacked the spark needed to provide viewers with a sense of hope to sustain their interest. Unfortunately, there was no character or performance that offered any emotional contrast. All the emotional levels felt suppressed, and there were moments when the characters should have been more emotionally engaged but didn't come across as fully invested or enraged.

WILD EYED AND WICKED has a made-for-tv movie or Hallmark channel production feel to it. Many of its plot devices lack originality, resembling other stories and films with similar themes. The film lacks atmosphere, even during the protagonist's ride into the forest, and fails to build tension, suspense, a sense of wonder or  the loss of innocence. Although it is an independent film and may have had budget constraints, other filmmakers have achieved more with less. The overly ambitious film falls short. While it is clearly a labor of love for Gordon Shoemaker Foxwood, it is also a laborious watch for the viewer.

CAST: Molly Kunz, Michael X. Sommers, Stefanie Estes, and Colleen Camp. CREW: Director/Screenplay/Producer - Gordon Shoemaker Foxwood; Producers - Powell Robinson & Patrick Robert Young; Cinematographers - Matheus Bastos & Eyal Bau Cohen; Score - Kyle Hnedak; Editor - William Ford-Conway ; Production Designer - Hanna Hamilton; Costume Designer - Nadine Sondej-Robinson; Visual Effects Artists - Chris Riley & Justin Sarceno; Prosthetic Designer - Isabelle Isel; Practical Effects - Independent Studio Services & J&M Effects. OFFICIAL: www.wildeyedandwicked.com FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/FQc3rDYwpaw RELEASE DATE: TVOD/Digital and cable On Demand June 11th, 2024

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[redwineconversation]

Olympique Lyonnais Behind the Scenes (Episode 1)

Blah blah standard disclaimers apply; don't harass me for shit or it drops down the priority list out of sheer spite; if you stalk a player your ass should be banned from a stadium xoxo; @OL Comms Dept I do love a good PSL; y'all know the speech by now.

I know I'm being a little slow in kicking things out but I do want to explain what my typical day looks like: get up at 5am, go to the gym, take Damo out for a walk, get home, feed Damo, shower, leave by 730 am, feed Apollo; get to work; hit my billable hours; take care of Apollo; get home; make dinner. Literally I am out of my apartment for 13 hours. By the time I am done feeding Damo his dinner and making my dinner, it's almost 930 - 10pm. I need sleep to function. I also really like my job and want to keep it, and thus cannot be chronically online as I have actual bills to pay since my parents don't pay for everything and I have, like, proper adult responsibilities. Anyway, it's just to explain that yes sometimes there is a delay in me kicking things out, but I do get to things eventually. Just don't be a dick if something is out with your fave and I haven't gotten around to translating in it. xoxo

This is how you do a proper documentary. Walk me through it. Tell me what you were thinking but tell me why you were thinking it as well. I don't care about your favorite movie or your social media content. Let's pour ourselves a glass of wine and just, like, talk.

If you want to know this team, you have to know what it looks like when their eyes change. To know this team is to understand them. This is how you get to that.

OLYMPIQUE LYONNAIS BEHIND THE SCENES - EPISODE 1

Eugenie Le Sommer: Hi.

Melchie Dumornay: Hello.

Griedge M'Bock: Hello.

Le Sommer: This year on OLPlay -

M'Bock: - we are telling you about our season.

Dumornay: And it starts right now.

[Footage of Lyon celebrating winning trophies]

[Shot of training ground]

M'Bock: I was there since the very beginning. But little by little, after the World Cup, the international players came back.

[previous footage of players coming back from after the World Cup]

Dumornay: Err, the return from the World Cup was hard for me because we had the goal of going as far as possible in the World Cup. And it was good as well to come back to the group as soon as possible to process what happened in the World Cup, and forget it all. Get back to work. So it was hard but also good for me to join the group.

Le Sommer: Well this year, this season is a bit different because we came back later from the World Cup. Each one came back at a different time. We didn't all start preseason at the same time. So we had to go with the flow.

[Shot of Kadidiatou Diani]

Le Sommer: For the recruits, it's simple. They're there. We act as though they have always been there. We try to make them feel at ease from the beginning. We obviously have an ulterior motive. We have to get to know them [shot of players in practice - that's what Le Sommer meant by "getting to know"], get them involved. Because it's always harder for a new player to approach players who have been there for a while. But it's a really natural process, ever since I've been at Lyon I've always found it easy to integrate the new players and I think they feel at ease pretty quickly.

Dumornay: The players sent me supportive messages, they said welcome home. I found that really touching. The players put me in the best condition possible in the group. It was a really good thing and I appreciate it enormously.

M'Bock: Obviously if there are players who are more at ease, then I will bully them a little bit more. Otherwise I will take more care of them. It depends on the person and the relationship you have with them.

[Shot of the players arrive in Divonne]

Le Sommer: The first important moment of the season when we're all together is the preseason camp, which we did in Divonne this year.

Dumornay: Everyone was there, the whole group. So for sure we were all able to work together, which helped with the team's chemistry overall. It was a really interesting preseason camp, the weather was nice, the sun was shining. So me personally, I was really excited to work with the whole group.

Le Sommer: We're going to say that our sights were set on the Trophee des Championnes. It was the first objective for the season. It was a major objective because it's against PSG. So the week in Divonne really served as preparation for that game.

[Training shots]

[Shot of Sara Dabritz]

M'Bock: It's true that Sara [Dabritz] had to leave preseason camp at one point. We were all really sad for her, because - because she is someone who is part of the team, who - who brings us a lot, and we also know what kind of person she is. She's a really kind person. We were all really touched by what happened to her. And we tried to show her on the field that we were with her and that we were thinking about her.

[Shot of the players arriving at Troyes (where the Trophee des Championnes will be played)]

Le Sommer: First game of the season, it's against PSG. I didn't think I was going to start because we had worked the whole week on a certain formation, and I was playing the role of someone coming in to that formation. But Ada [Hegerberg] got injured the eve of the game, so that's when I realized I could potentially be a starter. So I prepared like I always do, as if I was going to play, and I knew I would start when we had the pregame meeting.

Dumornay: [I was] very excited before the game. I was very eager to play against Paris [Saint-Germain] but also to play my first official game with the team and to try and do something special in the game.

[Game footage]

Le Sommer: We didn't have the start to the game that we wanted because we wanted to attack immediately and put them in difficulty. I think their formation threw us off a little bit at the beginning, even if we knew they would be playing with a backline of three defenders. We didn't adapt quick enough.

Dumornay: The first ten minutes of the game were a little complicated. I had to make a few mistakes to find my bearings. [laughter] Once I was able to orient myself I was off.

[Game footage cont'd]

Le Sommer: It's all about tactics at the start. I saw the space that the defender had left, so I move into that space. I move out wide whereas normally I cut inside. After that, instinct kicked it and I crossed. I put myself in Melchie's [Dumornay] space and I told myself where I would like the cross, and she cut inside her defender pretty well, and we scored.

Dumornay: I wanted to get a foot on it but it wasn't really going to work, so instead I - I don't know, it was more instinctual, cross the header in front of goal. So it ended pretty well. Once I saw the ball had gone in, that I had scored, I felt all the energy I had to let out leave me. It was my first goal, it was also an important goal for the team because it allowed us to gain the advantage. So yeah, really happy and really proud as well.

[Game footage cont'd]

Le Sommer: [laughs] So my goal, I get why people could say it's a lucky goal. But when I saw Lindsey [Horan] getting the ball, I knew that she could take a shot and I was ready to close in on the keeper if she dropped the ball. And then she [Horan] shot in my direction, and I said to myself all I have to do is put it on target and I just angled my foot to try and put it on target. It catches the goalkeeper wrong footed. It was an instinctual goal but there was also a thought process behind it.

Le Sommer: You have to be able to anticipate a situation that never happens. The day it does happen, you need to be ready. That's something that goes with playing in that position [forward/striker].

[Game footage cont'd]

M'Bock: It's true that it was a special evening. You just think about playing, you just think about getting on the field, having fun, even if there was a time when I was thinking back on the rehab, the months of hard work, everything I had gone through to get back. When the coach calls you to come on, it's a really happy moment. And a lot of emotion, because you say to yourself it's finally over, it's all behind you. To be able to come on in a game like the Trophee des Championnes and win the title, the emotions are obviously heightened.

Le Sommer: It warms the heart, it's the kind of emotional moments that you don't experience every day. And Griedge is a player I've been playing with for a long time, someone I appreciate enormously. So I was really happy for her, that she was involved again in a competition, with the team. We saw her daily, we saw how hard she work even if it was sometimes difficult. It's often difficult when you're injured, especially when it's a longterm injury. So we also know what she went through and seeing her [on the field], it was a reward for all that. It was good for her.

[Game footage cont'd]

Dumornay: My first medal, my first trophy and also my first trophy as Player of the Match. So it was something special. I couldn't have dreamt it any better. But what made me even happier was to have won this trophy with the team and all the players. So that's already something that will stay with me forever, to have come in like that in my first game and to have had so much success. So that will really stay with me.

[Game footage cont'd - Renard delaying the celebration until she received Sara Dabritz's jersey]

Le Sommer: We're a team. It's a real team, not just an expression. What we did for Sara [Dabritz], it's because she was going through a difficult personal situation. We're there for each other. When we say there's a lot of solidarity in the team, it's not empty words. It's really genuine. We want everyone to feel good on the team and that everyone is as happy as possible. So we know that when you're going through difficult times, even a little gesture like that will make you feel better.

M'Bock: It's true those gestures are really touching. Having experienced it personally, I was on the hospital bed right before my operation. When they did it for me, I almost had tears in my eyes. I was really emotional and said to myself, "they're still thinking about me." That does so much good. It's good to feel like people are thinking about you, and that they will be with you no matter what.

Le Sommer: Once the Trophee des Championnes was over, we went straight into the league. So first day of the league, it was against Le Havre. The game started pretty well for us, we played a good game. I scored the first goal. The goalkeeper coach, Simon, told me to be there for the rebounds. So that's all the balls which are [badly] cleared either by the goalkeeper or from the defenders. He told me to be ready in that position. And I just needed the ball to come to me. I didn't question myself, I just took a shot, and, well, I scored.

[Game footage cont'd]

Le Sommer: All these volleys, those are moves I've always liked doing. It's a move I do pretty well. And when I have the opportunity, I try to take it, and it worked out pretty well. But yeah, it was a good goal.

[Game footage cont'd]

Liana Joseph: I think it's Sonia [Bompastor], she was talking to Remi [Pullara], they were like "call up Liana". I was like "nah" but then I got up. I ran a bit, warmed up, then was good to go. There was also Alice [Sombath], it was either her or me who was going to go on. Then he [Remi] told me to step up my warmups, and I was like "okay Liana, it's on." I was a bit stressed, but yeah. I stayed confident in myself. Then they called me over. Sonia was like "okay, just do like you do in practice." When they raised the - the thing so you can come on - I was like okay, you have to give everything now. I didn't want my family to have come for nothing. Coming on in front of them was a big honor for me. So I gave everything I had, but the first minutes were a bit complicated because I had to get oriented and yeah. It was a bit complicated.

[Game footage cont'd]

M'Bock: Honestly, the cross was Wendie [Renard], it was really good. It was almost a magical moment.

[Game footage cont'd]

M'Bock: After Le Havre, there was the international break. When you're called up to the National Team, obviously you're happy. You savor each moment, each day. Obviously for me it was my big return, so there was even more happiness and emotion, I think. But I also experienced that period where the [Lyon] team wasn't at full strength. It's true it's not easy. At Lyon we're lucky to have an enormous amount of international players, but that means when pretty much everyone is gone, there's barely anyone left [at Lyon] for the training sessions. So it's sometimes a little complicated to practice in terms of quality [of practice], even if the staff does their best for us. It's just like that, you have to continue to train. But it also allows us to practice things that we don't always have time to do when you're off on international duty or when - well yeah, when you're away on international duty. There's good and less good.

Le Sommer: The context is a bit particular this year because we're playing PSG twice in three weeks. So when we come back from the international break there isn't a lot of time to prepare [for PSG]. We only had two training sessions, only one of which had all the players because there were some who were [playing] on the other side of the world. So when we get them back, you have to quickly get back in the Lyon state of mind. But that's also how football is, so you don't have a choice, that's just how it is. And we're playing at the Parc des Princes on Sunday night, so that's going to be good for the game in that sense. It's the match of the weekend.

[Game footage cont'd]

Le Sommer: It's one of the games where there was a lot of back and forth, no team dominated. That's not always the case against PSG. Each team had chances. We started the game pretty well. We were able to create some chances, we were pressing pretty high. They were able to put us in difficulty on the counters, but we continued to push and I was the one who scored the goal in the first half on a free kick from Selma [Bacha], she crossed it to Dama[ris] who headed it back to me and I took it on the volley. It ended up in the back of the net.

[Game footage cont'd]

M'Bock: She [Le Sommer] rolled back the years. Honestly, what she is doing is impressive. On the one hand it doesn't surprise me because I know Eugenie [Le Sommer], I know her quality, and I know what she is capable of. To see her perform like this, it makes me really happy. It can only be beneficial for the team as well.

Le Sommer: Chris[tiane Endler] had a big game as well. I think the win is because of her as well. She had some great saves. I think the goalkeepers on both teams had a great game. That being said, Chris isn't able to showcase her abilities that often because we don't usually concede that many chances. But it was still a game against PSG, her former club. So she had a really, really great game and that was good.

[Game footage cont'd]

M'Bock: So there you have it, we finish the month with three games, three wins. It was a productive month you can say.

Dumornay: As I said, I couldn't have hoped for any better. I spent my birthday here, I won a trophy here, I met people that I've always wanted to meet.

M'Bock: In terms of the style of play, there's still a lot we need to improve on. We know that. We know there are things we need to improve, but it's going in the right direction. We'll have a bit more time to work on things. So we're going to make the most of the time we have to continue improving as a team. There's a lot of clashes coming up, especially with the derby [againt ASSE], the UWCL draw, and everything after that. So we're eager to get to it, and we're going to prepare like we should to be ready.

Dumornay: Eager to see what's next. We're going to continue as I said with this consistency to work and conquer what's in front of us.

[vsthepomegranate]

Baron Blood (1972)

by Mario Bava

[lessirussolvr]

[lifewithaview]

B&W Advertising sheet used by movie theaters and newspapers for the promotion of the film "Baron Blood"(1972)

or "Gli orrori del castello di Norimberga"

A young man, Peter, returns to Austria in search of his heritage. There he visits the castle of an ancestor, a sadistic Baron who was cursed to a violent death by a witch whom the Baron had burned at the stake. Peter reads aloud the incantation that causes Baron Blood to return and continue his murderous tortures.

A cult classic horror movie!

[letsgethaunted]

CASE UPDATE: The Boy in the Box & Christmas Tree Jane Doe [IDENTIFIED!]

Welcome to our first ever Case Update episode. In July of 2021, we covered the case of “The Boy in the Box” aka “America’s Unknown Child”. The identity of the boy who was abused, murdered, and dumped in a trash pile on the side of the road in Fox Chase, Philadelphia, Pennsylvania in February of 1957 has finally been identified. In December of 2021, we also brought you the case of “Christmas Tree Jane Doe” aka “The Christmas Tree Lady” aka “Annandale Jane Doe”. In that story, the unidentified body of an elderly woman was found suffocated to death in the children’s section of a cemetery in Annandale, Virginia in 1996. She, too, has finally been identified. In this short case update episode, we briefly discuss the most recent news articles and press conferences for each case. We would love to hear from our listeners to see what their thoughts are on these two groundbreaking identifications solved through Forensic Genealogy.

[rwpohl]

boring postcards 2, 2025

[moviesandmania]

BARON BLOOD Mario Bava horror - free online on Plex, Roku, Tubi and YouTube

‘He sought the ultimate in human agony… with instruments of torture ghastly beyond belief!’ Baron Blood is a 1972 horror film in which a young man accidentally brings his dead relative back to life. Directed by Mario Bava (Shock; A Bay of Blood; Black Sabbath; Black Sunday) from a screenplay by Vincent Fotre. The movie stars Joseph Cotten (Lady Frankenstein), Elke Sommer (Lisa and the…

[twittercomfrnklin2001-blog]

Baron Blood

The ads for Mario Bava’s BARON BLOOD (1972, Shudder, Tubi, Plex, YouTube) — aka THE HORRORS OF NUREMBERG CASTLE — indemnify theater owners against patrons suffering heart attacks, cerebral hemorrhages or fainting spells. They should have included narcolepsy. Apart from an atmospheric chase scene in the fog, the scenes with a medium (Rada Rassimov) and Joseph Cotten’s bravura performance (when he finally shows up), the film is more padded than frightening and seems one of the least personal of Bava’s career.

American student Antonio Cantafora shows up at his family’s ancestral estate with an ancient parchment containing a spell to return his sadistic ancestor to life. His courtship of pretty architecture student Elke Sommer includes reading the spell in the room where the late unlamented baron died, whereupon the wind blows the parchment bearing the reverse spell into a fire. So, a scarred corpse rises from the grave to kill people until it turns into Cotten, a wealthy old man who buys the castle and sets about getting the leads into his torture chamber so he can kill them before they send him back to hell.

It takes forever to get to that plot, and the torture scenes are decidedly weak tea. Instead, the script pads things out with Cantafora, who’s cute, flirting with the wooden Sommer, whose face is less expressive than the fright mask Cotten’s stand-in wears for the murder scenes. That’s not helped by Bava’s penchant for extremely tight closeups, which underline how little her face moves. Amazingly, nobody questions how the wheelchair-bound man keeps turning up in rooms that can only be reached by climbing stairs. The kills don’t have the zip of Bava’s best gialli, and he uses the zoom so much I wanted to break it over my knee and send him to bed without his supper. The film is also inflicted with an incongruous Euro-pop score that makes it sound like a sex comedy. American prints substituted a horror score by Les Baxter, but Shudder, in a misguided stab at cinematic integrity, uses the original.

[tuppencetrinkets]

Sorted caps from Season 1 of The Vampire Diaries, the Originals and Legacies.

Nina Dobrev - Elena Gilbert

Paul Wesley - Stefan Salvatore

Ian Somerhalder - Damon Salvatore

Kat Graham - Bonnie Bennett

Candice King - Caroline Forbes

Zach Roerig - Matt Donovan

Michael Trevino - Tyler Lockwood

Steven R. McQueen - Jeremy Gilbert

Matthew Davis - Alaric Saltzman

Joseph Morgan - Klaus Mikaelson

Marguerite Macintyre - Liz Forbes

Sara Canning - Jenna Sommers

Claire Holt - Rebekah Mikaelson

Susan Walters - Carol Lockwood

Daniel Gillies - Elijah Mikaelson

Susan Walters - Carol Lockwood

Kayle Ewell - Vicki Donovan

Melise - Anna Zhu

David Anders - John Gilbert

Arielle Kebbel - Lexi Branson

Phoebe Tonkin - Hayley Marshall

Kelly Hu - Pearl Zhu

Mia Kirshner - Isobel Flemming

Sebastian Roche - Mikael

Charles Michael Davis - Marcel Gerard

Danielle Campbell - Davina Claire

Leah Pipes - Camille O'Connell

Nathan Parsons - Jackson Kenner

Danielle Pineda - Sophie Deveraux

Danielle Rose Russell - Hope Mikaelson

Eka Darville - Diego

Todd Stashwick - Kieran O'Connell

Elyse Levesque - Genevieve

Shannon Kane - Sabine Laurent

Aria Shahghasemi - Landon Kirby

Quincy Rouse - Milton Greasley

Jenny Boyd - Lizzie Saltzman

Kaylee Kaneshiro - Josie Saltzman

Demetrius Bridges - Dorian Williams

Omono Okojie - Cleo Sowande

Yasmine Al-Bustami - Monique Deveraux

Bianca Lawson - Emily Bennett

Steven Krueger - Josh

Lulu Antariksa - Penelope

Melinda Clarke - Kelly Donovan

Sheila Bennett - Jasmine Guy

Karen David - Emma

Gina Torres - Bess

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!)

[fraumagdagoebbels]

do you have any clips or videos where one can hear Magda's voice?

Yes, there is a recording where Magda's voice can be heard.

This is a clip from Joseph Goebbels' birthday film 'Sommer 1942'.

[elvira-movie-macabre]

Movie Macabre 113 - Baron Blood

Movie Macabre Season 01 - Episode 13 (113) Original Air Date: 27 December 1981 (Final Episode of 1981)

Baron Blood (1972) (Original Title: Gli orrori del castello di Norimberga / The Horrors of Nuremberg Castle) Directed by Mario Bava Screenplay by Vincent G. Fotre, Willibald Eser, and Mario Bava

Starring: Joseph Cotten Elke Sommer Massimo Girotti Antonio Cantafora Alan Collins Humi Raho Rada Rassimov

"A young man, visiting the castle of a murderous ancestor in Austria, accidentally brings his dead relative back to life - searching for new victims." (IMDb)

Episode 13 of Movie Macabre was the first to feature a movie by director Mario Bava, considered one of the masters of Italian horror. Because of this reputation, my expectations were not in line with reality. I found this movie overall pretty dry. While there were a few moments of good atmosphere, very little about this movie really stands out.

Peter is visiting Austria, the place of his family's history. He's particularly interested in a "ghoulish" ancestor, a baron who tortured and murdered people. Peter believes he has the key to resurrect this long-dead evil. In the exact type of stupidity that only seems to exist in horror movies, Peter keeps trying to resurrect the baron until he succeeds. And then he's upset the baron is going around killing people.

Baron Blood casually murders a few people, while Peter and his friends try to solve the mystery of who is killing the people.

The movie's not all bad. There is competent film making hidden in the somewhat bumbling plot. There are some good practical effects.

I try to find the good in every movie I watch. Even if something's not to my tastes, there are usually redeeming qualities. Even movies that are completely incompetent can be enjoyable. But it's difficult to get past a movie that's just boring. Unfortunately, I found this movie boring. The plot wasn't compelling, and often relied on the characters being almost stupid in order for anything to happen. The atmosphere was largely akin to daytime television, except for a couple of standout moments. Much the movie felt added just to get the film to feature length. This particular film was made to be half watched while waiting for Elvira to pop up and comment on it.

I would be interested in seeing more (and better) Mario Bava films. He has a reputation as a master of horror cinema. Surely he didn't earn it for things like Baron Blood?

I bet Elvira would have livened up a viewing of Baron Blood. Someone somewhere has to have all of the episodes of Movie Macabre. Right?