#Fabio Frizzi

[brokehorrorfan]

The Last Drive-In with Joe Bob Briggs’ Season 4 & 5 original series soundtrack is available on vinyl for $30 via Ship to Shore PhonoCo. The cover art by Justin Osbourn parodies The Shining.

Composed by John Brennan, the album features Joe Bob Briggs, Fabio Frizzi, Tim Capello, Chris Jericho, Piggy D, H6LLB6ND6R, and more. Two color variants (pictured below) are available: "1921 Black & White Ball" and black & white marble.

[suspiria76]

THE BEYOND

Italy

1981

Directed by Lucio Fulci

[scumgristle]

“Desperate for work, Derek [Maffei] accepts a job replacing his recently deceased friend at a tech startup. Continuing to develop the company’s innovative project means working intimately with Susan [Thälker], a bleeding-edge BDSM sex doll meant to receive and appreciate punishment as an integral part of her evolving AI. Derek will soon test the limits of his own desires and explore the nature of man and woman, pleasure and pain, and life and death in a morally uncertain future world.”

[anhed-nia]

BLOGTOBER 10/15/2022: A personal essay on THE BEYOND (1981)

There is a lot to say about THE BEYOND as a work of art, and it's been said by smarter people than me—including Tenebrous Kate, a writer and critic who handily kicked off the Brooklyn Horror Film Festival's Fulci retrospective with a compact, insightful introduction to the prolific director's genre-spanning career. Besides situating his work historically, and breaking down his key themes, Kate also reflected on what it was like to discover someone like Fulci in a pre-internet world where you really had to care and network and sleuth out movies like his, and you could often be surprised—traumatized, even!—by stumbling upon films you never saw coming. THE BEYOND was like that for me, and Kate's observations sent me spiraling into old lady reverie and musing about whether that kind of mentally revolutionary discovery can still happen in this day and age. So, this piece is more about that, than it is about THE BEYOND specifically.

Just to be clear, I was never some sort of tape-trading hero. I made most of my discoveries in mom & pop video stores, and then later in more esoteric rental places where there was an escalated risk of experiencing something that I was in no way prepared for. When I was 14 and had my first personal membership at our local shop, I picked up something that looked for all the world like an old F.W. Murnau movie. When I took it home and pressed play, I realized how wrong I was; it was DER TODESKING, an explicit essay on suicide by Jörg Buttgereit, the director most famous for the still-shocking NEKROMANTIC. About 20 minutes later, after a segment that suggests a hardcore version of ILSA: SHE-WOLF OF THE SS including graphic castration, I took the tape out, returned it, and spent the rest of the afternoon crying. Many years later I found a love for Buttgereit, who makes intelligent, satirical art that tends to target past and contemporary German culture—but at the time, I was REALLY not ready for it. I didn't even know anything like that existed. And actually, I wouldn't trade that experience for anything in the world. It made watching movies an adventure, with a real sense of peril, and it encouraged me to take them very, very seriously.

When I was a little older but not necessarily wiser, I took a semester off college in Portland, Maine, where there was once the greatest video store I've ever been in to this day. I would beeline for that place every day or three and grab a handful of movies—typically, anything that I couldn't sort out just by looking at the box, or even anything that seemed potentially threatening. This is how I first encountered CANNIBAL HOLOCAUST. It was the first movie of its kind that I had ever seen. I didn't even know that it was a whole category of thing, let alone the most challenging and feared version of the type. So, with absolutely zero context, I met with a movie around which probably the most people have drawn lines in the sand. It completely blew my brains out of my mind. I returned it the next day in a daze and sheepishly asked the clerk, "What……..is this?" The guy rolled his eyes and gently assured me, "It's just one of those Italian endurance tests." I still like to use this phrase, and I still like to maintain my initial, naive impression that what I had seen was, in fact, a snuff film. Not that I think it's cool to, like, kill people, or that I like the idea of filmmakers having their work literally put on trial like Ruggero Deodato's was. I just love that I had that folkloric kind of experience where I really didn't know what had happened to me. Years later, I came to really like CANNIBAL HOLOCAUST—which feels weird to say, it definitely doesn't strive to be liked! But I do think it has a certain kind of editorial intelligence that becomes clear if and when you can get passed the visceral shock of the images.

Anyway, in between DER TODESKING and CANNIBAL HOLOCAUST, I was enduringly shocked by THE BEYOND. It was the end of high school, and Quentin Tarantino's distro Rolling Thunder Pictures was circulating a print of the movie that turned up at our nearest theater with a midnight program. I had seen ERASERHEAD and PINK FLAMINGOS there, and as challenging as those can, they came with a certain reassuring reputation establishing their position in the art world, and those screenings were joyful experiences. Still, my friends and I didn't know a thing about Fulci. We had no idea what we were in for. The whole audience seemed to anticipate that we were in for a fun time, as it was the late '90s, and our collective ears had pricked up when we heard the name Tarantino. We thought THE BEYOND was probably going to be a charming thrill ride like EVIL DEAD 2 or something…and we quickly found out we were dead wrong.

As soon as the movie began and the warlock Schweick was being chain whipped to death in a swampy basement by a sweaty mob, a very, very bad vibe descended on the theater. It was grim, and grimy, and unforgiving, and it just got worse by the second. Fabio Frizzi's perverse, spidery score was also something the most of us had never heard anything like before, and we were experiencing the evil, perverted potency of italo disco in the best/worst possible context for the first time. As the movie unspooled, a thick pheromonal fog of fear and misery gathered in the air around us, and no one made a sound. We were trapped with this film, unable to escape it, compelled to see how much worse it could possibly get. Finally in the middle of the movie, as someone was being protractedly pulled apart like so much monkey bread by a swarm of tarantulas, my most sensitive friend simply couldn't take it anymore, and screamed out loud: "OH MY GOD THEY'RE RIPPING OUT HIS EYEBALL!" It was exactly the icebreaker the audience so badly needed. Everyone laughed, and that midpoint catharsis helped us survive the rest of the movie. But still, we all walked out marked by an experience we would not soon forget, whether we all liked it or not. (Of course, I really, really liked it)

I definitely don't mean to complain about the availability of movies and information that we enjoy in today's computerized environment. To me, nothing beats the pleasure of movies and the stories about how they came to be. But I wonder how often people still get to experience the thrill of seeing something that they are truly, completely unprepared for. If you have a story like this, past or present, please feel free to ad it to this post.

[sillymovietrailer]

Puppet Master: The Littlest Reich

Skipping right ahead to the last Puppet Master movie, and the last one I saw, because I am in the mood for a little bit of a rant. As you can tell by that delightfully tactful title, this reboot basically swaps things around so that the puppets and Andre Toulon, instead of fighting Nazis, are Nazis. Now keep in mind as I say this that I am no prude, my taste in films can attest to that, but I find the idea of taking characters that have previously been strong opponents of something like Nazism, and having them go for it, is really distasteful to be honest, especially these days when alt-right groups are such a big problem again. It didn't work well when someone did that to Captain America (I love that the films decided to boil that entire stupid plotline down to a joke in Endgame), and I don't think it works here. Plain and simple, this is edgelord Puppet Master, going "I'm here to push buttons" when it's just being an insensitive arse. I get the sense that a lot of this comes from the script by S. Craig Zahler, whose other works show this streak (like being OK to give Mel Gibson a starring role again). I'm not going to go too long into all this, as I don't really enjoy writing a really overtly negative review like as I used to, but I will just get off my chest that in my opinion, though it does pull off some impressive gore and carnage, this mean spirited reboot is kind of the worst direction the property could have gone in.

Still, I will say one nice thing about this; a new score by Italian horror veteran Fabio Frizzi, that's pretty cool.

[untogetherxxx]

My playlist from tonight. I went hard on the Fabio Frizzi because he scored The Beyond.

Goblin Rebirth - Book Of Skulls

Genghis Iron - Board Up The House (remix)

Zombi - Long Mirrored Corridor

Christopher Young - Hellhound Heart

Fabio Frizzi - Apoteosi Del Mistero

Charles Bernstein - Main Title (A Nightmare On Elm Street)

Fabio Frizzi - Voci Del Nulla

Claudio Simonetti - Demon

John Carpenter - Wraith

The Ramones - Pet Sematary

Snapcase - She

Fabio Frizzi - Zombie

Creed - What If (Peter’s Intro)

Fantomas - Spider Baby

Dangerous Toys - Scared

White Zombie - Grease Paint and Monkey Brains (Sin Centers of Suburbia Mix)

Samhain - All Murder All Guts All Fun

Zombie Zombie - Driving This Road Until Death Sets You Free

Fabio Frizzi - Sequenza Ritmica E Tema (Peter’s second Intro)

[flashfuckingflesh]

The Gates Are Opening and The EVIL Wants to Squish Your Brains! "City of the Living Dead" reviewed! (Cauldron Films / 4K UHD - Blu-ray)

Cauldron Films’ ���City of the Living Dead” on 4K and Blu-ray 3-disc Release! In the Dunwich, a priest commits suicide by hanging himself in the Church’s graveyard.  In the same instance, a psychic based in New York City holds a séance where she witnesses the beginning of the gates of hell opening.  The order sends the psychic into sheer fright that nearly kills her.  A reporter digging deep into…

[brokehorrorfan]

The Scorpion with Two Tails will be released on Blu-ray on January 24 via Full Moon Features. The 1982 Italian horror film was original shot as an eight-part miniseries before being cut down to feature length.

Sergio Martino (Torso, All the Colors of the Dark) directs from a script by Ernesto Gastaldi (Torso) and Mara Maryl (The Great Alligator). Elvire Audray, Paolo Malco, Claudio Cassinelli, Marilù Tolo, Wandisa Guida, and John Saxon star.

Special features are listed below.

Special features:

Deleted scenes

Trailers

A young woman (Elvire Audray) is having gruesome dreams of ancient sacrificial rites. When her husband is murdered in the same ritualistic way, she begins to suspect that someone or something is targeting her, leading her deep into a nightmarish mystery involving death, smuggling and reincarnation.

Pre-order The Scorpion with Two Tails.

[suspiria76]

ZOMBIE FLESH-EATERS

Italy

1979

Directed by Lucio Fulci

[z34l0t]

La Morte Viene Dallo Spazio - Trivial Visions

[undiscoperlapausapranzo]

#UnDiscoPerLaPausaPranzo - #1385 - 2 Febbraio 2023 - Bixio Frizzi Tempera - 7 note in nero OST - 2006 (registrato nel 1977)

[c-40]

A-T-2 338 Halloween '82: Soundtracks

Death Wish II soundtrack by director Michael Winner's then neighbour Jimmy Page. I wonder if it was Alister Crowley's house because I remember Page owns that?

Jimmy Page - A Shadow In The City

The slasher Friday the 13th Part III comes out in 1982, the disco cut theme is actually better than the movie

Harry Manfredini / Hot Ice - "Theme From Friday The 13th Part 3" (12" Extended Mix)

John Carpenter's Escape From New York comes out in 1981, this disco mix the following year. As usual Carpenter scores the movie with frequent collaborator Alan Howarth. These extended mixes are by Mario Boncaldo who is one half of Klein & M.B.O (A-T-2 132)

John Carpenter & Alan Howarth - The Duke Arrives / Barricade / The President At The Train

The Italians! I've already shared Flashing from the Tenebre soundtrack (A-T-2 122) but here's a remix version of the main theme

Goblin - Tenebre (Remix)

From the soundtrack to Lucio Fulci's film City of the Living Dead from the director's Gates Of Hell trilogy. The composer Fabio Frizzi had a long relationship with Lucio Fulci scoring films going back to his spaghetti western and giallo work before going into horror. Yesterday I shared a cover version of the Zombi theme by Fabio Frizzi from Fulci's Zombi 2 (Zombie Flesh Eaters in the UK) the sequel to George A. Romero's Dawn Of The Dead and first horror movie Fulci and Frizzi worked on together

Fabio Frizzi - Apoteosi Del Mistero 

Another from Death Wish II

Jimmy Page - Hotel Rats And Photostats

Trevor Jones - The Dark Crystal Main Theme

[vintage1981]

The Beyond: The Composer’s Cut Screening Dates

Experience Lucio Fulci's masterpiece of horror THE BEYOND, restored in 4K with a new music score from original composer Fabio Frizzi! Now touring select theaters across North America!

Grindhouse Releasing has teamed with legendary composer Fabio Frizzi to present a brand-new version of THE BEYOND, director Lucio Fulci’s 1981 horror masterpiece starring Catriona MacColl, David Warbeck and Cinzia Monreale.

Premiering this fall in theatrical release from Grindhouse, THE BEYOND: THE COMPOSER’S CUT features Fabio Frizzi’s new score for THE BEYOND with a brand-new 4K presentation of THE BEYOND newly scanned from the original camera negatives.

“Fulci fans will definitely want to see this on the big screen for the maximum impact,” said Grindhouse Releasing co-founder Bob Murawski. “It’s the best the movie has ever looked and a whole new experience in terror with Fabio’s brilliant new score!”

After a years-long multidimensional odyssey as the editor of Sam Raimi’s DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS, Murawski is now finishing 4K UHD HDR disc editions of THE BEYOND and Ruggero Deodato’s CANNIBAL HOLOCAUST.

Murawski also confirmed work is close to complete on two sought-after ’70s thrillers coming soon to Blu-ray from Grindhouse: HOLLYWOOD 90028, screening next month at Quentin Tarantino’s New Beverly Cinema, and William Grefe’s IMPULSE, starring William Shatner.

Grindhouse will also be releasing Blu-ray editions of two Texas indies: S.F. Brownrigg’s SCUM OF THE EARTH and Palmer Rockey’s magnum opus LOVE IS DEEP INSIDE.

Grindhouse Releasing’s latest hit is Peter S. Traynor’s psycho thriller DEATH GAME, starring Seymour Cassel, Sondra Locke and Colleen Camp. DEATH GAME screens next at the 2022 L’Etrange Film Festival in Paris and is now available on Blu-ray at GrindhouseReleasing.com.

10/22 – Globe Cinema, Toronto, ON

10/22 – Sie Film Center, Denver, CO

10/25 – Cinema Lamont, Detroit, MI (*original version)

10/28 – Bengies Drive-In, Middle River, MD

10/29 – Metro Cinema, Edmonton, AB

10/29 – 10/31 –Grand Illusion Cinema, Seattle, WA

10/30 – 11/1 –AFI Silver Theatre, Silver Spring, MD

11/4 – Alamo Loudoun, Ashburn, VA

11/4 – Alamo Drafthouse Crystal City, Arlington, VA

11/4 – Alamo Woodbridge, Woodbridge, VA

11/4 – Alamo Drafthouse Bryant Street, Washington, DC

11/4 – Alamo Downtown LA, Los Angeles, CA

11/8 – Majestic Tempe 7, Tempe, AZ

11/11 – Alamo Littleton, Littleton, CO

11/17 – Plaza Theatre, Atlanta, GA

11/18 – Alamo LaCenterra, Katy, TX

11/18 – Alamo Springfield, Springfield, MO

11/18 – Alamo Corpus Christi, Corpus Christi, TX

11/18 – Alamo Drafthouse Lubbock, Lubbock, TX

11/18 – Alamo Drafthouse Laredo, Laredo, TX

11/18 – Alamo Drafthouse East El Paso, El Paso, TX

11/18 – Alamo Drafthouse Montecillo, El Paso, TX

11/18 – Alamo Drafthouse Richardson, Richardson TX

11/18 – Alamo New Mission 5, San Francisco, CA

11/18 – Alamo Brooklyn 7, Brooklyn, NY

11/18 & 19 – Marcus Des Peres Theatre, St. Louis, MO

11/30 – Music Box Theatre, Chicago, IL

12/15 & 16 – Cleveland Institute of Art Cinematheque, Cleveland, OH