Darling Lili (1970)

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Darling Lili is a beautiful film, with some fine aerial shots during the battle scenes, some truly fantastic costuming, plus gorgeous sets and lighting. Continue reading

Hustle (1975)

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To modern eyes, Hustle tries way too hard to be edgy, though it’s all in the service of creating a gritty take on films noir and early police dramas. Continue reading

Phase IV (1974)


Phase IV is a slow, moody kind of film, with a decidedly trippy early 70s aesthetic and a synth music score that anticipates the indie horror trend just around the corner. Continue reading

The Bees Number is Canceled: Beauty, Boredom, and The Deadly Bees

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The best moments of The Deadly Bees (1966), the confused and tepid British horror flick, come when Ralph and Mary hurl barbs at each other a la Who’s Afraid of Virginia Woolf, only with less booze and fewer swears. Continue reading

Murder, My Sweet (1944)

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Murder, My Sweet is frequently considered to be second-tier film noir (when it’s not being forgotten entirely), and that’s a shame, as it’s a fine example of the film noir cycle. Influential and entertaining, this psychological thriller is a must-see for classic film fans. Continue reading

Prick Up Your Ears (1987)

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Prick Up Your Ears does well in the details, especially when it comes to the collage that Halliwell covers their tiny apartment walls with, but the film also tends to skim the surface of lives that were fascinating and complicated… Continue reading

The SBBN Blogiversary and Begging Post

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She Blogged By Night celebrates its 8th anniversary today, something that is alternately awesome and horrifying. Thank you to those who have stuck around this long! Continue reading

The Hunger (1983)

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Despite being a mainstream, upscale version of the European erotic horror flicks of the 1970s, Tony Scott’s The Hunger goes to unnecessary lengths to distance its vampires from the creatures already well-established in the public’s consciousness. Continue reading

The Last American Virgin (1982)

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Dismissed by many as just another crass teenage sex romp not-so-secretly marketed to pervs a generation older than the stars on the screen, The Last American Virgin (1982), in truth, doesn’t disabuse anyone of that notion during its first half. Continue reading

West of Zanzibar (1928)

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This is the SBBN entry for The Barrymore Trilogy Blogathon, hosted by In the Good Old Days of Classic Hollywood. Make sure to click here and enjoy all the fantastic entries! Poster art courtesy Jorday Jaquay on Pinterest. *** Lon Chaney was one of the biggest movie stars of the silent era, a master of disguise whose dedication to his craft was alternately admirable and obscene. Though a true pioneer in the art of movie make-up, his technique bordered on the ludicrous at times. It’s easy to respect his dedication in terms of body manipulation, a dedication that frequently caused him serious pain, but in our modern age, it’s hard to forget that Chaney’s grotesques were nearly always the result of a moral failing. That is, most of the disabled and disfigured characters he played were portrayed as people who deserved their fate because of some past deeds or inner ugliness. Further, these characters differed wildly in appearance, yet so often found themselves in the same basic situations, film after film, that his skill starts to feel, after the fifteenth film about a malformed malcontent pining for a lost love, like gimmick rather than substance. Lon Chaney, Mary Nolan, Warner Baxter and Lionel Barrymore. Photo courtesy George Eastman House, who label Kalla Pasha as “some guy with a beard.”   Some of this cinematic repetition, however, is surely due to Chaney’s frequent collaboration with horror director Tod Browning. For ten films, beginning in 1919 and culminating in 1929, Browning directed … Continue reading