One of the all-time foundational fixtures in horror is the vampire. That means over a century’s worth of bloodsuckers in film, in various styles and mythology, from across the globe.
As prominent as this movie monster is, with dozens of adaptations of Bram Stoker’s Dracula alone, there’s an overwhelming selection of vampire fare that makes it easy for many worthwhile gems to fall through the cracks. This week’s streaming picks are dedicated to underseen vampire horror movies worth seeking out.
As always, here’s where you can stream them this week.
For more Stay Home, Watch Horror picks, click here.
Mr. Vampire – The Criterion Channel – Plex, the Roku Channel
This supernatural genre-bender from director Ricky Lau stands far apart from standard vampire fare thanks to its comedy, martial arts, and jiangshi. Taoist priest Master Kau (Lam Ching-ying) guards the realm of the living by maintaining control...
As prominent as this movie monster is, with dozens of adaptations of Bram Stoker’s Dracula alone, there’s an overwhelming selection of vampire fare that makes it easy for many worthwhile gems to fall through the cracks. This week’s streaming picks are dedicated to underseen vampire horror movies worth seeking out.
As always, here’s where you can stream them this week.
For more Stay Home, Watch Horror picks, click here.
Mr. Vampire – The Criterion Channel – Plex, the Roku Channel
This supernatural genre-bender from director Ricky Lau stands far apart from standard vampire fare thanks to its comedy, martial arts, and jiangshi. Taoist priest Master Kau (Lam Ching-ying) guards the realm of the living by maintaining control...
- 4/23/2024
- by Meagan Navarro
- bloody-disgusting.com
That’s how things ought to work — give this reviewer Exactly the great disc he wants to see and wait for the flood of praise. This Italian-French gothic gem can hold its own in the Eurohorror Renaissance of 1960, with fine direction, an attractive cast, a seductive heroine/villainess, and lush color cinematography that turns a Flemish windmill into a young lover’s Garden of Horrors. It’s a period picture with fairy tale overtones, atrocious medical crimes and a sensual romance that leans heavily on squeamish Victorian taboos . . . yes, it’s irresistible. So is the lavish presentation, one of this disc label’s very best. Call it Holiday Horror, perhaps.
Mill of the Stone Women
Blu-ray
Arrow Video
1960 / Color / 1:66 widescreen / 90, 95, 96 min. / Street Date December 14, 2021 / Available from Arrow Video / 59.95
Starring Pierre Brice, Scilla Gabel, Herbert Böhme, Wolfgang Preiss, Dany Carrel, Liana Orfei, Marco Gugliemi.
Cinematography Pier Ludovico Pavoni
Production Designer...
Mill of the Stone Women
Blu-ray
Arrow Video
1960 / Color / 1:66 widescreen / 90, 95, 96 min. / Street Date December 14, 2021 / Available from Arrow Video / 59.95
Starring Pierre Brice, Scilla Gabel, Herbert Böhme, Wolfgang Preiss, Dany Carrel, Liana Orfei, Marco Gugliemi.
Cinematography Pier Ludovico Pavoni
Production Designer...
- 12/7/2021
- by Glenn Erickson
- Trailers from Hell
Unbelievable! A Beautiful Girl Becomes a Petrified Monster!
1960 Italian Horror Classic Mill Of The Women will be available on Blu-ray from Arrow Video November 30th
Before Black Sabbath, before I Vampiri, director Giorgio Ferroni introduced audiences to period horror Italian-style with his chilling 1960 shocker Mill of the Stone Women – a classic tale of terror redolent with the atmosphere of vintage Hammer Horror.
Young art student Hans von Arnam arrives by barge at an old mill to write a monograph about its celebrated sculptures of women in the throes of death and torture, maintained and curated by the mill’s owner, the hermetic Professor Wahl. But when Hans encounters the professor’s beautiful and mysterious daughter Elfi, his own fate becomes inexorably bound up with hers, and with the shocking secret that lies at the heart of the so-called Mill of the Stone Women.
The first Italian horror film to be shot in color,...
1960 Italian Horror Classic Mill Of The Women will be available on Blu-ray from Arrow Video November 30th
Before Black Sabbath, before I Vampiri, director Giorgio Ferroni introduced audiences to period horror Italian-style with his chilling 1960 shocker Mill of the Stone Women – a classic tale of terror redolent with the atmosphere of vintage Hammer Horror.
Young art student Hans von Arnam arrives by barge at an old mill to write a monograph about its celebrated sculptures of women in the throes of death and torture, maintained and curated by the mill’s owner, the hermetic Professor Wahl. But when Hans encounters the professor’s beautiful and mysterious daughter Elfi, his own fate becomes inexorably bound up with hers, and with the shocking secret that lies at the heart of the so-called Mill of the Stone Women.
The first Italian horror film to be shot in color,...
- 10/15/2021
- by Tom Stockman
- WeAreMovieGeeks.com
Mad doctors! Mortiferous maidens! Horrifying hallucinations! A key early Euro-horror and one of the very first in color, this French-Italian production is a medical horrorshow crossed with a folk tale -- its centerpiece is a vintage carillon attraction in an old mill; creepy Scilla Gabel is the minatory seducer who bridges the gap between life and death. Mill of the Stone Women Region A+B Blu-ray Subkultur / Media Target Distribution GmbH 1960 / Color / 1:66 widescreen / 90, 95, 96 min. / Die Mühle der versteinerten Frauen / Street Date June 30, 2016 / Amazon.de Eur 24,99 Starring Pierre Brice, Scilla Gabel, Wolfgang Preiss, Robert Boehme, Dany Carrel Cinematography Pier Ludovico Pavoni Production Designer Arrigo Equini Film Editor Antonietta Zita Original Music Carlo Innocenzi Written by Remigio Del Grosso, Giorgio Ferroni, Ugo Liberatore, Giorgio Stegani from Flemish Stories by Peter Van Weigen (possibly apocryphal) Produced by Giampaolo Bigazzi Directed by Giorgio Ferroni
Reviewed by Glenn Erickson
2016 is shaping up as a...
Reviewed by Glenn Erickson
2016 is shaping up as a...
- 7/23/2016
- by Glenn Erickson
- Trailers from Hell
Popular in the 1960s and early 1970s with more rare appearances in the 1980s, 1990s and the 2000s, the anthology-style horror film has made a solid resurgence in recent years with such portmanteau releases as The ABCs of Death films and the V/H/S series.
With Mexico Barbaro, Fear Paris and other projects in various stages of completion, the anthology horror film looks to continue to be an important part of the horror cinema landscape.
Some anthology films employ a framing or wraparound sequence in an attempt to connect the segments that make up the film while others dispense with this classic Amicus-style approach entirely and simply present a collection of short films connected by genre.
Either way, a horror anthology film is ultimately about the quality of its individual segments and this article will take you on a tour of the greatest horror anthology segments of all time.
With Mexico Barbaro, Fear Paris and other projects in various stages of completion, the anthology horror film looks to continue to be an important part of the horror cinema landscape.
Some anthology films employ a framing or wraparound sequence in an attempt to connect the segments that make up the film while others dispense with this classic Amicus-style approach entirely and simply present a collection of short films connected by genre.
Either way, a horror anthology film is ultimately about the quality of its individual segments and this article will take you on a tour of the greatest horror anthology segments of all time.
- 10/25/2014
- by Terek Puckett
- SoundOnSight
★★★★☆ Often credited as the man who started the golden age of Italian horror, Mario Bava created works that managed to be hypnotically beautiful as well as uncompromisingly brutal. Black Sunday (1960), Bava's directorial debut, set the standard for gothic horror in the 20th century by appropriating the heightened melodrama of the Hammer films and marrying it with an ethereal sense of otherworldliness. Much like Giorgio Ferroni's Night of the Devils (1971) over a decade later, Black Sunday exists in mid-point between the traditional supernatural horrors of the 40s and the more daringly explicit slashers of the late 70s.
Read more »...
Read more »...
- 2/4/2013
- by CineVue UK
- CineVue
Editors’ Note: The Coroner’s Report and Foreign Objects are distinct columns covering horror and foreign films respectively, but a mash-up of the two feels more appropriate on the rare occasion when we cover a foreign language horror film. You wouldn’t know it from Italy’s film output these days, but there was a time when the country was home to filmmakers keeping the horror genre alive and well for the rest of us. That time was a roughly three decade span from the 60s through the 80s when filmmakers like Mario Bava, Dario Argento, Lucio Fulci and Lamberto Bava delivered movies that paired violence and sexuality with style and atmosphere. The result was a list of movies that continue to excite fans to this day including A Bay of Blood, Suspiria, The Beyond, Demons and more. Giorgio Ferroni and his 1972 film, La Notte dei Diavoli (aka The Night of the Devils) aren’t nearly as...
- 11/15/2012
- by Rob Hunter
- FilmSchoolRejects.com
Above: Piero Tosi, costume designer for Il gattopardo (1963), presents a World Cinema Foundation restoration of the Visconti film to a packed Saturday night audience in Bologna's Piazza Maggiore.
June 26. Bologna is nice and quiet this year after Italy's World Cup defeat. It's a pointed contrast to the 2006 edition of Il Cinema Ritrovato, when the national team came home the victors from Olympiastadion in Berlin. Fireworks blazed, drivers honked incessantly and fans raged through the streets. Morale was up for football lovers, and distractions were abound for the thousand or so guests of the world's foremost festival of old films. The customary outdoor screening in the Piazza Maggiore was even replaced, much to the befuddlement of cinema population, with a projection of Italy's semi-final battle against the German team.
Not the case this year. John Ford will have to occupy the place of Cannavaro. Giorgio Ferroni will naturally have to stand in for Gilardino.
June 26. Bologna is nice and quiet this year after Italy's World Cup defeat. It's a pointed contrast to the 2006 edition of Il Cinema Ritrovato, when the national team came home the victors from Olympiastadion in Berlin. Fireworks blazed, drivers honked incessantly and fans raged through the streets. Morale was up for football lovers, and distractions were abound for the thousand or so guests of the world's foremost festival of old films. The customary outdoor screening in the Piazza Maggiore was even replaced, much to the befuddlement of cinema population, with a projection of Italy's semi-final battle against the German team.
Not the case this year. John Ford will have to occupy the place of Cannavaro. Giorgio Ferroni will naturally have to stand in for Gilardino.
- 6/30/2010
- MUBI
One of Italy's leading screenwriters, he worked on 140 films
One of Italy's most respected and prolific screenwriters, Furio Scarpelli, who has died aged 90, worked on the scripts of about 140 films, sometimes without a credit, and received three shared Oscar nominations, for I Compagni (The Organiser, 1963), Casanova '70 (1965) and Il Postino (1994). Scarpelli enjoyed a lengthy writing partnership, from 1949 until 1985, with Agenore Incrocci, also known as Age. The pair collaborated on the 1958 film I Soliti Ignoti (Big Deal on Madonna Street), about a team of makeshift thieves, which owed much of its success to the brilliant comic characterisations. The film, starring Vittorio Gassman and Marcello Mastroianni, helped to launch the genre of commedia all'italiana ("comedy Italian-style").
Scarpelli was born in Rome. His Neapolitan father, Filiberto, was a satirical writer who founded a humorous magazine, Il Travaso delle Idee. Furio began his own career as a cartoonist. It was after the second world war,...
One of Italy's most respected and prolific screenwriters, Furio Scarpelli, who has died aged 90, worked on the scripts of about 140 films, sometimes without a credit, and received three shared Oscar nominations, for I Compagni (The Organiser, 1963), Casanova '70 (1965) and Il Postino (1994). Scarpelli enjoyed a lengthy writing partnership, from 1949 until 1985, with Agenore Incrocci, also known as Age. The pair collaborated on the 1958 film I Soliti Ignoti (Big Deal on Madonna Street), about a team of makeshift thieves, which owed much of its success to the brilliant comic characterisations. The film, starring Vittorio Gassman and Marcello Mastroianni, helped to launch the genre of commedia all'italiana ("comedy Italian-style").
Scarpelli was born in Rome. His Neapolitan father, Filiberto, was a satirical writer who founded a humorous magazine, Il Travaso delle Idee. Furio began his own career as a cartoonist. It was after the second world war,...
- 5/17/2010
- by John Francis Lane
- The Guardian - Film News
Above: the first Golden Donkey winner, Reha Erdem's Kosmos (2009).
Little did the Ferroni Brigade anticipate the earth-shattering importance of the date, as it happily embarked towards the Sala Volpi (also affectionately known as "the basement boiler room") on that warm evening of the opening of the Venice film festival 2004. Not that we—that is, the soon-to-be founding members and Other First Secretaries of the Central Committee of the Ferroni Brigade, Olaf Möller and Christoph Huber—weren't in a good mood: After all, we (almost) always rush to the cinema in hopes of being delighted and educated. And certainly the screening in the retrospective dedicated to the "Secret History of Italian Cinema" looked a lot more pleasurable than suffering again through Steven Spielberg's interminable The Terminal, which unspooled in the nearby Sala Grande, while we walked past our favorite festival usher (the "Centurio"), entered the shabby, but charming small...
Little did the Ferroni Brigade anticipate the earth-shattering importance of the date, as it happily embarked towards the Sala Volpi (also affectionately known as "the basement boiler room") on that warm evening of the opening of the Venice film festival 2004. Not that we—that is, the soon-to-be founding members and Other First Secretaries of the Central Committee of the Ferroni Brigade, Olaf Möller and Christoph Huber—weren't in a good mood: After all, we (almost) always rush to the cinema in hopes of being delighted and educated. And certainly the screening in the retrospective dedicated to the "Secret History of Italian Cinema" looked a lot more pleasurable than suffering again through Steven Spielberg's interminable The Terminal, which unspooled in the nearby Sala Grande, while we walked past our favorite festival usher (the "Centurio"), entered the shabby, but charming small...
- 4/19/2010
- MUBI
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