Lucio Fulci

Prospector Franco Nero returns home to find his brother George Hilton a lush and his hometown cowering under the boot of a land baron and his psychopathic son.

Lucio Fulci’s first thriller wows with confident pacing, stylish camera-work, and strong performances. I went in cold and suggest you do likewise. The less you know, the better.

Later in his career, when asked which of his films was his favorite, director Lucio Fulci often cited Beatrice Cenci. It’s easy to see why. The lavish production, ample budget, and non-genre script rank it as the most “respectable” production he ever helmed, and yet it still feels like a Fulci film. For fans of the director’s horror films, the themes that permeate his best work first emerged in this historical drama.

Fulci’s most formal effort at the time. A stylistic thriller revolving around a politician’s daughter who dreams of murdering her hedonistic neighbor, only to awaken and find herself the center of an actual police investigation.

In rural Italy, a reporter and socialite struggle to uncover the culprit behind a rash of child murders. Unlike Fulci’s prior thrillers, Don’t Torture a Duckling nudges closer to horror, playing like a werewolf story.

Opens strong, with great location photography featuring a pair of wolves running through a snowy forest. Then a jarring cut to an obvious soundstage resets our expectations.

This sequel to White Fang finds original baddie Beauty Smith once again terrorizing a Yukon mining town.

I’m struggling with this review. On the one hand, I liked the story of four outcasts making their way across wild west Utah, pursued by a maniacal outlaw. The plot proved a surprising exploration of immoral versus evil. The cast engages and director Lucio Fulci and his cinematographer exploit the Austrian locales to present a heightened version of the frontier west that’s both beautiful and brutal.

Jennifer O’Neill plays an American married to a wealthy Italian businessman. A psychic vision leads her to discover a year-old murder victim in her husband’s shuttered family villa and she resolves to uncover the killer.

A reporter (Ian McCulloch) helps a woman track her missing father to a tropical island plagued by zombies.

Director Lucio Fulci’s gory, surreal horror sees a medium and a reporter travel to the remote New England village of Dunwich to stop an undead priest named Father Thomas from opening the gates to Hell.

I didn’t like The Beyond the first time I saw it. It felt like a zombie movie bolted onto a haunted house film.

MacColl, husband Malco and their young, burgeoning psychic son move into a New England mansion unaware that the original owner, Dr. Freudstein, a notorious Victorian surgeon turned undead murderer, lurks in the basement.

A maniac stalks the streets of New York City, killing attractive women by mutilating their breasts or genitals. A New York Police Detective recruits a professor of psychology to help him find the killer.

Following a string of genre-defining nihilistic horrors, director Lucio Fulci and screenwriter Dardano Sacchetti pivot to a more traditional—and underwhelming—ghost story.

Director Lucio Fulci, the “Godfather of Gore” trades graphic violence for sexual sleaze in this heightened exploration of sadomasochism. It’s an interesting work, provided you can get past the saxophone in the crotch.

After experimental US Army bio-weapon turns much of a Filipino town into flesh-eating zombies, scientists rush to find a cure, while the military fights to contain the outbreak and assorted tourists struggle to stay alive.