Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

morrison-dylan-fan Whilst aware that Daninsky is his most famous role,the peculiar Giallo A Dragonfly for Each Corpse has somehow ended up being the only Paul Naschy movie I've seen. Keeping a recording of the chilling Spanish Horror Sleep Tight on the side to see in October,I was pleased to spot a Naschy film in a local DVD shop,which led to me finally meeting Daninsky.The plot:Traveling round in search of mythical vampire Countess Wandessa de Nadasdy, Elvira and her friend Genevieve meet gentlemen Waldemar Daninsky, who unknown to them is a Werewolf who has just come back from the dead,after some now-murdered doctors removed silver bullets from him. Revealing to them that Nadasdy's grave is by his castle,Nadasdy takes Genevieve and Elvira to the coffin. As it is opened up, Elvira accidentally gets a cut and bleeds on the-soon to be revived body of Nadasdy,who Daninsky will have to use more than silver bullets on to take Nadasdy back to the grave.View on the film:Making his arrival to the Daninsky series,director León Klimovsky & cinematographer Leopoldo Villaseñor ignore any opportunity to be subtle,by marvellously delivering buckets of sleaze,from all the beautiful ladies appearing naked covered in cheap fake blood and the special effects having a real handmade quality. Backed by a terrific dreams-cape score from Antón García Abril,Klimovsky brews up a dream-logic vibe via echo sound effects being added to the score,and abrupt use of slo-mo giving the tale a hazy appearance.Bringing Daninsky back,co-writer/(with Hans Munkel )lead actor Paul Naschy combines slivers that go more into the background of Daninsky with delicious pulp Horror,as the incredible stupidity of Genevieve and Elvira allows the writers to unleash lesbian vampires and a snarling werewolf. Possibly naming Elvira after Naschy's wife,the writers surprisingly wipe the horror away for an oddly sweet Beauty and the Beast-style Fantasy ending. Joined by the proper fit duo Gaby Fuchs and Barbara Capell as Elvira and Genevieve,Naschy gives a very good performance as Daninsky.thanks to Naschy carrying the polite,gentlemen side of Daninsky,with the snarling hiss,that reveals itself as the werewolf steps out of the shadow.

a_baron Oh boy, this one really is as bad as it sounds. Set in France, it begins with a cameo of a werewolf coming back to life after having been shot twice with silver bullets, and the pathologist, well, he just had to prove that claim was nothing but a ridiculous superstition. Fast forward a century or more, and the same werewolf back in human form is living in the French countryside with his mad sister. No telephone, no electricity, and who should happen upon him but two young women who are researching a woman who sounds suspiciously like Elizabeth Bathory?Throw in a deranged lustful handyman, a jealous boyfriend who just happens to be a detective, and, well, if you can follow the plot you might be able to understand why it is so bad, but if you can't, feel free to hate it anyway. Is there a classic showdown in which they all die happily ever after only to come back from the dead? Let's put it this way, whatever the ending, there is absolutely no way anyone would consider making a sequel to this garbage, unless Donald Trump beats Hillary Clinton and decides to replace waterboarding with something even more insidious.

poe426 WALPURGIS NIGHT is one of the better "Paul Naschy" efforts- due in no small part to director Klimovsky's extremely effective use of slow motion during most of the vampire sequences. Molina ("Naschy") reveals in one interview that it was HE who suggested using the slo mo. Whosever idea it was, it worked. (It helps, too, that WALPURGIS NIGHT seems to have had a bigger budget than some of the other Naschy films: the production values are excellent, and the gray, bloodless vampire makeup is also effective.) Slow motion almost ALWAYS works in fright films (BLACULA, THE LEGEND OF THE SEVEN GOLDEN VAMPIRES and the 1972 telemovie GARGOYLES are perfect examples); it lends a dreamlike quality to the happenings and it's frankly amazing to me that it isn't used more often.

zetes Cheesy Eurotrash horror movie that makes Jesus Franco look like Hitchcock. Paul Naschy plays a man who turns into a werewolf when the full moon is out. While hiding out in a small French village, he welcomes two students (Gaby Fuchs and Barbara Capell) doing research on local vampire legends into his home. They awake the vampire woman (Patty Shepard) in a scene that rips off Bava's Mask of Satan very badly. As with all of these movies, there's gratuitous nudity, but not nearly enough, as well as hints at lesbian erotica - but only the most teasing of hints. I saw this in a theater (which was cool, despite the terribleness of the film) and the biggest crowd reaction came when one of the reels ended right in the middle of one of the lesbian scenes. Someone in the front row shrieked "NO!" and then a moment later, before the next reel started, "WHY?" Of course, when it reappeared, the lesbianism ended abruptly. Doesn't it always in these movies? It's like Europeans of the 1970s liked the idea of two women together, but weren't entirely sure if two women could have sex. Instead, they must just unbutton one another's shirts and rub the back of their hands across each other's breasts for a few seconds before the director yells "CUT!" As with the erotica, the promised werewolf vs. vampire woman action was pathetically short and unsatisfying. The print had faded terribly - it was as pink as undercooked chicken.