#Dyanne Thorne

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Dyanne Thorne - Ilsa: She Wolf of the SS. 1974

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Kino Lorber Launching ‘Kino Cult’ as Packaged-Media Label

Home entertainment distributor Kino Lorber is launching its Kino Cult genre brand as a packaged-media imprint focusing on collector-oriented Blu-ray and 4K Ultra HD releases.

The Kino Cult imprint will debut as its own label in October 2023 with special Blu-ray editions of Jess Franco’s erotic horror masterpiece Lorna … the Exorcist (1974, featuring Lina Romay), as well as 4K restorations of Alien Outlaw (1985) and The Dark Power (1985), two video rental favorites from North Carolina indie Phil Smoot.

Kino Cult’s premiere 4K Ultra HD Blu-ray release will be a deluxe edition of Clive Barker’s Underworld (1985), directed by George Pavlou, and featuring Denholm Elliott and Ingrid Pitt. Upcoming 4K releases for 2024 include the exploitation classic Ilsa: She-Wolf of the SS (1975) and its sequels, Ilsa: Harem Keeper of the Oil Sheiks (1976), Ilsa the Tigress of Siberia (1977), and Ilsa, the Wicked Woman (1977).

While focusing mainly on horror and science fiction, Kino Cult will continue to embrace its trademark brand of “unapologetically weird” with such diverse genres as European erotica, grindhouse classics, and cinematic rediscoveries that defy categorization.

“Some of the most exciting rediscoveries are happening in the realm of cult cinema,” said Kino Cult curators Frank Tarzi and Bret Wood. “These strange and twisted movies are so unique that we feel they deserve their own imprint within the Kino Lorber family of labels.”

Kino Cult will expand its partnership with legendary cult label Something Weird, with collector’s edition releases to be announced soon.

Additional Kino Cult releases will be announced monthly.

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Dyanne Thorne in Blood Sabbath (1972).

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Ilsa, the Tigress of Siberia (1977)

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Today in horror movie / sexploitation film history: on December 3, 1981 Ilsa: Shewolf of the SS debuted in Peru.

[moviesandmania]

HOUSE OF FORBIDDEN SECRETS Reviews of Todd Sheets' terror - free on Tubi

‘Some things should stay buried…’ House of Forbidden Secrets is a 2013 American horror film in which a nightwatchman discovers not is all it seems at an old manor. The movie was written, edited, produced and directed by Todd Sheets (Zombie Bloodbath and sequels; Bloodthirsty Cannibal Demons; Hi-8 “The Request” segment). The soundtrack score was composed by Fabio Frizzi (Zombie Flesh Eaters; City…

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Dyanne Thorne

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Ilsa, the Tigress of Siberia (1977)

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28 gennaio … ricordiamo …

28 gennaio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2023: Kevin O’Neal, attore statunitense,  fratello di Ryan O’Neal e figlio degli attori Charles O’Neal e Patricia O’Neal e lui stesso zio dei attori Tatum O’Neal e Griffin O’Neal. Ha partecipato a film come Village of the Giants (1965), Io sono perversa (1969), ed è apparso accanto al fratello nei film Love Story (1970), Ma papà ti manda sola? (1972) e Il ladro che venne a pranzo (1973) e e ha…

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On August 16, 1975, Ilsa: She Wolf of the SS debuted in Japan.

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Movie Review | Helga, She Wolf of Stilberg (Rhomm, 1978)

This review contains mild spoilers.

I'm not much of a fan of Nazisploitation, but of the movies I've seen from or adjacent to the genre, my favourite is easily Greta, the Mad Butcher AKA Wanda, the Wicked Warden AKA Ilsa, Absolute Power AKA Jess Franco's Ilsa movie. And I think it's worth unpacking why that one works as well as it does and this and others come up short in comparison. For one thing, Franco's movie brings some actual political conviction to the proceedings. Perhaps he was making movies in (the other) Franco's Spain and butting up against censors, there's actual blood in the movie's veins when it comes to depicting the evils of a fascist government and sympathy for its victims. This movie, like Franco's, opts for an unspecified fascist government instead of explicitly depicting Nazi Germany, but is much less interested in sketching out the political environment of its story. There's some reference to rebels, who we finally see very late in the movie, but the movie halfheartedly takes the perspective of the oppressors.

Which gets at the biggest problem this one has, in that you never really identify with the protagonist. For what it's worth, Patrizia Gori tries to emote her heart out in the role, but she isn't introduced until a third into the movie and takes another third to emerge as an actual character. Franco's movie wisely aligns us with the perspective of Tania Busselier, giving us a sympathetic figure to latch onto in order to navigate the proceedings. You actually end up caring about what happens as a result. Franco's movie also has Lina Romay, who is like a cheat code in elevating the material. I will say that while Malisa Longo is no Dyanne Thorne, she is well cast as the villain. In large part this is thanks to her great big feline eyes, which she uses to dole out piercing stares, often with her nostrils flared. Her performance is not sophisticated by nonetheless effective. She also has an amazing wardrobe, getting to put on a nice floral dress, a silk robe, and an outfit consisting of a red silk shirt and leather pants that she usually wears while torturing prisoners or going riding. It is a versatile outfit, is what I'm saying.

At the same time, and this might sound contradictory, Franco's interest in Sadean themes means that the torture scenes in his movie are a lot more engaging. Basically he's getting off on them, and as such they carry a certain charge. This one cycles through a number of indignities, like rapes, whippings and medical examinations, but the execution can be charitably described as low energy. There's one scene where some of the prisoners have their heads held under a tap that has all the excitement of trying to give a cat a bath. This copies the other movie's tactic of denying the prisoners any underwear beneath their uniforms, which guarantees flashes of bush anytime there's a physical altercation. Listen, this movie doesn't have a lot going for it, I'm willing to throw it point for this one little thing. There's also a pretty funny scene where Longo is down in the dumps so she hurries to the dungeon to torture somebody so she can cheer herself up. I'll throw the movie a point for this scene too.

This movie has a bunch of talent from French porn, including director Patrice Rhomm, Dominique Aveline AKA the guy who looks like Mario, Alban Ceray AKA the guy who looks like the lead from Taste of Cherry, Richard Lemieuvre AKA the guy who looks like Ringo Starr, and a bunch of the ladies too. Aveline gets a sex scene with Longo, which is like if Mario banged Princess Peach, but in a fascist context. Aveline also later tortures Lemieuvre, which is like if Mario tortured one of the Beatles, but in a fascist context. This is also shot in a castle in the French countryside, so it looks nice enough despite the obvious low budget. On that point, at the end, the rebels adopt a strategy of arresting people like they have a huge army behind them, a strategy the movie imitates by throwing in a bunch of stock footage to make the battle scene look a lot bigger than it is. Anyway, this is pretty boring and has some really lame last minute attempts to create emotional resonance, but I suppose I liked Gori and Longo, and the movie did prove useful in showing why Franco's Ilsa movie is good. But if you're looking to get your genre jollies, maybe just watch that one instead.

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§ 3.338. Ilsa, la hiena del harén (Don Edmonds, 1976)

Pues una continuidad que parecía más prometedora de lo que al final ha sido. Pierde el interés de la primera parte, y aunque sigue teniendo el mismo gancho que la anterior -tetas, morbo y sadismo soft- no funciona igual. Para los muy fan. 

Misma chica (Dyanne Thorne) que resucita para esta segunda parte sin explicarnos cómo y por qué, porque es evidente que muere en la primera parte, al final, asesinada por un oficial Nazi que quiere borrar las huellas de los macabros experimentos que realizaba la loba.

Insinuaciones, sevicias sexuales, orgasmos epilépticos, realmente par los muy fan.