don't torture duckling blu ray review

Reviews _g1.classList.remove('lazyload'); Fulci took on a big adversary – the Catholic Church – and in the process found his film facing limited release due to opposition. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Start typing to see results or hit ESC to close. Bouchet and Milian’s journalist eventually unite to solve the string of murders the police can’t seem to wrap their heads around, which happens quite late in the narrative, setting up the last half hour of the film.

How this eventually relates to the murderer and his motives for killing the young boys (spoiler—it’s so they remain innocent and untainted by the sins of the flesh and can, therefore, easily pass through the pearly gates) reveals Don’t Torture a Duckling to be not only a film about the juxtaposition of the sacred and profane, but also an examination of the inherent misogyny gilding the tenets of Christianity.

Spiral | 2020 Warsaw International Film Festival Review Arrow Video racks up another top Blu-ray in their ever-growing library of amazing releases. Don’t Torture a Duckling might be utterly confusing and convoluted at times, but Fulci has a certain quirkiness and raw grittiness in his films, that makes you always end up liking it and this film is no different. Switch to the light mode that's kinder on your eyes at day time.

And despite being lighter on gore than his splatterpieces, there are several scenes of visceral violence that will remind viewers who they’re watching.

It also allows for Fulci to shoot a very graphic scene that is somewhat hard to watch. Enter your account data and we will send you a link to reset your password. _g1.setAttribute('srcset', _g1.getAttribute('data-srcset'));

Disc Review: ★★★★/☆☆☆☆☆. Don’t Torture a Duckling might be utterly confusing and convoluted at times, but Fulci has a certain quirkiness and raw grittiness in his films, that makes you always end up liking it and this film is no different.

He works with Cpt. Special Features are filled with plenty of interviews.

As far as the cast goes, Fulci assembled quite a mixture of impressive giallo alums, including Bolkan, who starred in A Lizard in Woman’s Skin, and the beautiful Barbara Bouchet, who headlined Emilio Miraglia’s classic The Red Queen Kills Seven Times the same year.

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Switch to the dark mode that's kinder on your eyes at night time. I won’t spoil it. It would be easy to nitpick the 2.35:1 1080p picture, but after reading the Herculean effort made by Arrow Video to restore this film to its former glory it would be impossible not to respect whatever level of quality they were able to achieve.

Modesti eventually work their way to Magiara, who freely admits to killing the boys… with her black magic; no physical harm was committed by her hands. } This is a Fulci flick, so there is some graphic violence on display here.

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Audio is also near perfect, with both a lossless Italian and English track. As usual, Arrow decks out the release with a clutch of fantastic extras. Ortolani’s score sounds soaring in lossless.

His case is lent credibility when Tonino shows up dead the following day.

The rural village of Accendura is plunged into a nightmare when young boy Bruno mysterious disappears. appeal to our sense of experiencing the forbidden sans the corresponding guilt. In hindsight, it probably wasn't a good idea.

I also admire the lovely cardboard sleeve supplied with the package.

In the Southern Italian village of Accendura, the disappearance of local boy Bruno Lo Casio sets off a strange chain of events. Don't Torture a Duckling (Italian: Non si sevizia un paperino) is a 1972 Italian giallo film directed by Lucio Fulci, starring Florinda Bolkan, Tomas Milian, and Barbara Bouchet.The plot follows a detective investigating a series of child murders in an insular village in Southern Italy whose residents are riddled with superstition and mistrust.

– so crack open that thick booklet and get learning. var _g1;

Rebecca | Review Tweets by @ioncinema We have children being murdered, a woman being savagely beaten and also a death that is hilarious looking, but explicit as well. By Eric LavalléeSeptember 29, 2020, Top 10 Most Anticipated Foreign Films of 2021, Nicholas Bell’s Top 5 – 2020 Berlin Intl.

Fulci’s treatment goes a step further by eschewing supernatural components and uncomfortably gliding into representations of sexuality and children. Reviews

Interview: Mark Webber – The Place of No Words _g1.setAttribute('src', _g1.getAttribute('data-src') ); We have the weird loony who doesn’t like the local boys. Before he went missing, Bruno and two of his friends were taunting local simpleton Giuseppe (Vito Passeri), who happened to be peeping on some couples having sex at an abandoned house notorious for such lascivious proclivities. Barbara Bouchet.

by Anthony Arrigo November 14, 2017, 4:45 pm Starring Tomas Milian, Ugo D’Alessio, Florinda Bolkan, Marc Porel A film which deserves to be as well revered as Fulci’s The Beyond or the cult classic Zombi, the depiction of child murder and pedophilia makes Don’t Torture a Duckling as uncomfortable now as it was upon its release. However, Fulci’s subtexts of sexuality and religion create a comingling cocktail of exploitation and social issues. var _g1; He was a jury member at the 2019 Cleveland International Film Festival. It’s a fun ride. If you’re wondering what this little Duckling is about, it’s a convoluted, red herring filled murder mystery where it will leave you rightfully confused all the way to the end. She is a drop-dead gorgeous. His parents (LADY FRANKENSTEIN's Andrea Aureli and …

It’s here where Fulci also utilizes Greek actress Irene Papas (a woman the villagers respect only because she’s the priest’s son), a rather arresting presence for a giallo title (not unlike Ingrid Thulin in Aldo Lado’s Short Night of Glass Dolls) whose character plays an important part in the film’s climax (which features another moment of extreme violence, marred by the limitations of special effects but is nevertheless an arresting, slow-motion finale of a body careening off a cliff). The murdering of children remains a somewhat taboo topic, even for genre films, which is what makes items about evil kids like Children of the Corn, Village of the Damned, or Who Could Kill a Child? An important segue into the extreme, stylized violence and rampant misogyny with which he would come to be celebrated and damned, Fulci crafts a surprisingly coherent mystery thriller speckled with several gratuitous displays of carnage. Picture and sound quality are notably cleaned up and polished in this new high-definition transfer (credited as its US debut in this format), which includes optional audio commentary from Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films.

Interview: Ksawery Szczepanik – Going for Gold | 2020 Warsaw International Film Festival

_g1.setAttribute('srcset', _g1.getAttribute('data-srcset')); A two part archival interview from 1988 between journalist Gaetano Mistretta and Lucio Fulci is available as an audio recording here.

His top 3 for 2019: Midsommar (Ari Aster), Climax (Gaspar Noe) and High Life. The print has been meticulously cleaned, with scratches only making much of an appearance during the third act. _g1 = document.getElementById('g1-logo-mobile-inverted-source');

Supernatural suspicions grace a small rural village when young boys begin to show up murdered, leading to the lynching of a local madwoman blamed for their deaths.

There are also “Cast & Crew Interviews” with Florinda Bolkan, Sergio D’Offizi, Bruno Michell, and Maurizio Trani. One of his greatest efforts came nearly a decade before he delved deeply into the dismemberment scene: a prescient picture called Don’t Torture a Duckling (1972). When an anonymous caller demands a ransom for Bruno, the local police commissioner (Virginio Gazzolo) and the village police captain (Ugo D’Alessio) quickly corner Giuseppe, who admits to attempting to extort money out of Bruno’s parents only after he happened upon the boy’s corpse.

We have the gorgeous Barbara Bouchet, who fancies the local boys a bit too much, as in entering possible jailtime territory. With 1972’s Don’t Torture A Duckling, Fulci not only created […] [Blu-Ray Review] Fulci's 'Don't Torture A Duckling' is Treated Right by Arrow - Bloody Disgusting

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Arrow provides audio options in both English and Italian, both with an LPCM 2.0 mono track. Reviews Considering all the work done here, I’d say this is a wonder.

This time around my review is going to about a quirky Giallo named Don’t Torture a Duckling.

Don’t Torture a Duckling – Review (Arrow Video Blu-ray). A handful of potential suspects are given screen time, as to be expected, but the story manages to play the final reveal close enough to the vest that it’s the mystery of the thing propelling the story.

Another reason why this film isn’t quite a giallo is because those pictures tend to spend time reveling in death scenes, whereas here the focus is truly on story first and gore second. if ( localStorage.getItem(skinItemId ) ) { Interviews There is a lot that is not needed, which makes the story harder to follow, but in the end, once the killer is revealed, it all works in the end. Hell is Already in Us:

Interviews Big-city reporter Andrea (Tomas Milian) arrives in town to cover the growing story, bringing his own acute insights to the case. Today, it’s spying on the local peeping tom, Giuseppe (Vito Passeri), who’s getting an eyeful of the action at a local whorehouse. Ortolani had a real knack making beautiful music for ugly movies. The script also avoids being bogged down by red herrings aplenty. Interview: Mark Webber – The Place of No Words

Film Review: ★★★/☆☆☆☆☆ Bruno goes missing the next day and the cops, naturally, pin the crime on Giuseppe. The would-be hero played by Tomas Milian, who would later headline Fulci’s The Four of the Apocalypse (1975) alongside Fabio Testi, becomes eclipsed by his trio of female co-stars, all of whom seem designed to befuddle rather than solve the case. “Hell is Already in Us” is a discussion of the film’s misogynistic claims, with critic Kat Ellinger.

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