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Cannibal Apocalypse (aka Invasion of the Flesh Hunters) [Blu-ray]

John Saxon (出演), Antonio Margheriti (監督) 形式: Blu-ray

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ジャンル	Horror
フォーマット	字幕付き
コントリビュータ	Antonio Margheriti, John Saxon
言語	英語

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言語 ‏ : ‎ 英語
製品サイズ ‏ : ‎ 1.78 x 19.05 x 13.72 cm; 68 g
EAN ‏ : ‎ 0738329243746
バリアフリー音声ガイド: ‏ : ‎ 英語
製造元リファレンス ‏ : ‎ unknown
監督 ‏ : ‎ Antonio Margheriti
メディア形式 ‏ : ‎ 字幕付き
発売日 ‏ : ‎ 2020/3/17
出演 ‏ : ‎ John Saxon
字幕: ‏ : ‎ フランス語, 英語, ドイツ語
販売元 ‏ : ‎ Kl Studio Classics
ASIN ‏ : ‎ B0833XMRFX
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 166,745位DVD (DVDの売れ筋ランキングを見る)
- - 3,464位外国のホラー映画
- - 52,897位ブルーレイ

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上位レビュー、対象国：日本

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ヘリ坊や

「地獄の謝肉祭」待望の bluray 発売！

2020年5月14日に日本でレビュー済み

Amazonで購入

　「地獄の謝肉祭」です。注文完了してから、しまった！残酷場面削除版かもしれない！確認してからにするんだった！！と頭を抱えましたが、商品が届いてみると、うれしいことに完全版が収録されていたのでした。画質も申し分なく、本当に買って正解でした。信頼の KINO LORBER からの発売ですから。ジャケットは好みで裏返しも選べるリヴァーシブルでした。商品ページで２種見られます。
　英語題名になぜ apocalypse (=黙示録)が入っているのかというと、おそらくこの映画公開の１年前1979年作品「地獄の黙示録( apocalypse now = 現代の黙示録)」で、題名にその単語が使われるかっこよさを見て盗用に走った、のではないかと思います。日本の映画配給会社がそれにならったとは思えないのですが、偶然にも題名は「地獄の黙示録」「地獄の謝肉祭」文字数やら見た目の感じは奇しくも同じ映画から盗用してるようにも見えます。もちろん、両者には何の関係もありません。
　監督名が Antonio Margheriti とクレジットされていますが、その正体は、マリオ・バーヴァと双璧をなすイタリア恐怖映画界の重鎮アンソニー・ドーソンらしいです。といいつつ、代表作はなんだっけ、と調べてみました。
「顔のない殺人鬼」(1963) 題名はなんとなく聞いたことあるような…見たことはないです。
「幽霊屋敷の蛇淫」(1964)これは黒沢清監督がえらく高く評価してたやつですね。私も輸入DVD買いました。
「惑星からの侵略」(1966)VHSで昔見ました。信じられないほど安っぽくてなかなかにひどい作りのC級SFで、ある意味見応え充分でした。光線銃から発せられるのは手持ち花火みたいなプシュプシュ～の火花で、その火花が届いてもいないのに相手は倒れてくれてしまうという。宇宙基地も円谷プロに教えを乞えばよかったのに…というかなりチャチすぎな悲しい出来ばえでした。今調べたらDVDが出ていて amazonでも買えますね。商品ページでジャケット写真の下の４点のスティル写真をご覧いただくと、その「安くささ」を実際に目で見て納得していただけそうです。
「キラーフィッシュ」(1979)これは見せ場たっぷりの面白いB級映画、今この文章を、途中でやめてしまわず読んでる方ならば楽しめそうなオススメ作品。
う～ん、本当に巨匠なのか？と心配になってきます。しかしです、この「地獄の謝肉祭」、私は、大好きです。商品レビューの書き手として「ヘリ坊や」と名乗る私ですから察していただきたい。1978年ロメロ先生の Dawn of the Dead の２年後、まだ「噛まれたら伝染る」方式が市民権を得てない時代に、この「謝肉祭」は評論家に「意味不明のクズ映画」と一蹴されて終わってしまってましたが、今見ればそんなに無茶な設定なわけでもなく、すんなりと受け入れられるに違いありません。クローネンバーグ先生も Dawn より１年前の1977年に「ラビッド」で「噛まれたら伝染る」映画をさきがけて完成していますが、病原菌発生に関しての説明が、一応なされてはいるものの全く意味不明でしたね。でも「ラビッド」も私は大好きです。'70年代末期には、恐怖映画の優秀な監督たちは誰もがこの「ホラー鬼ごっこ」映画を我先に、と競うかのように制作してしのぎを削っていたんですね。「ラビッド」「ゾンビ」「地獄の謝肉祭」は似たような設定で作られていて、どれも私にとっては、何度見ても最高に楽しめる傑作です。
　どうでもいいですが、「謝肉祭」で感染始まりとなった白人兵士の名前(役名)がチャールズ・ブコウスキーであることに、今回初めて気づきました。脚本も手がけているアンソニーの洒落たイタズラでしょうか。初めてこの映画を公開時に映画館で見たとき私ははまだ中学生で、ブコウスキーの名前など知る由もありませんでした。あ、でもそのあとVHSやDVD出るたび、画質が向上していく度になけなしのこづかいをつぎ込み何回も何回も見てましたね。とにかく、その登場人物の名前に気づいてからは、この映画に文学の上品な香りが漂うように感じられ始めましたよ。
　リリースしてくれた KINO LORBER というレーベルは木下氏が創始者だか社長だかで、その名前が冠されているのだそうで、やはり、この映画の bluray 化には日本人の功績が大きかったのだな、とよくわからない納得をして感慨にふけってしまいました。

7人のお客様がこれが役に立ったと考えています

役に立った

首藤畝視

楽しかった。

2020年8月5日に日本でレビュー済み

Amazonで購入

大変、いいですね。それに楽しかった。

1人のお客様がこれが役に立ったと考えています

役に立った

他の国からのトップレビュー

すべてのレビューを日本語に翻訳

Eddie

Great picture quality for a dvd

2021年12月5日に英国でレビュー済み

Amazonで購入

New Kino Lorber Region 1 USA release.

If you’re reading this you already know the synopsis!
The DVD transfer has obviously been taken from the HD source as it’s outstanding!
Blu Ray version must be supreme. This standard DVD is highly recommended.

レビューを日本語に翻訳する

satisfiedcustomer

"Remember these chompers?"

2020年5月20日にアメリカ合衆国でレビュー済み

Amazonで購入

This is it!!!!

This is the one you probably heard of but never got around to see yourself!!!!!

Possibly the greatest Italo-Spanish flick from the year 1980, and if you do the research this is a very bold claim. Suffice it to say it was the very best year for this kind of Italian outing... I don't think "Anthony M. Dawson" ever did anything as good as this before or after... besides being mentioned in Inglorious Basterds...

This is the movie that brings together First Blood, Apocalypse Now (which is obvious in the Italian title), Dawn of the Dead (which, along with Last House on the Left, drove Italian filmmakers crazy), One Flew Over the Cuckoos Nest and even shared at some point not one, but several titles with another masterpiece, Mattei & Fragasso's very own Hell of the Living Dead (yep, Italo-Spanish from 1980, too). It could've been the other way around, but it even seems to nudge to it's "inappropriate" and most definitely blatant use of stock footage.

Charlie Bukowski's chase across Atlanta, (yep, you are reading correctly and I for one stopped believing in coincidences long ago, especially since this comes from the messed up imagination of Dardano Sacchetti, the Absolute Boss when it comes to this type of movie and who, on top of that. is a poet himself like the real Bukowski), has to be the sublimest spectacle I've ever had the chance to witness!!!

I mean, where else would you get a lengthy, frantically-paced chase that starts in a movie theater because of something similar to an octopus attack and culminates in a bloody-barricade inside what has to be the biggest, meanest thrift-store in all Atlanta, Georgia? To me, this is the absolute highlight not only here, but in all movie history, outdoing and trashing to pieces the sequence in First Blood from which it takes inspiration! You forget about the French Connection, too!

But there's plenty to choose from. For example, John Saxon and Cinzia De Carolis hair dryer scene is as awkward and freaky as they come. I had to do the research, and apparently she was old enough to do it, but sure doesn't look or act like it. Besides, her character in the Cat O'Nine Tails had a similarly questionable relationship with her blind uncle, whom she would keep calling "cookie."

Biker gang's included both in what I call the "octopus" sequence and another one involving Atlanta, GA's world-famous sewage system, which also has to be seen to be believed. Bukowski's introduction to this "underground" universe to Nurse Helen (Mary Heatherly from Pieces) is worthy of Charles Bukowsky himself! "Ashes to ashes..." incredible line by Wallace Wilkinson's character line, too!!!

... And of course, plenty of gore in between to make even the most seasoned frequenter of this particular kind of gig's stomach churn! Right up there with D'Amato's Buio Omega or The Grim Reaper! I'm telling you, it more than did the trick for me! Too good for having been "accomplished" by practical sfx and not something live being killed on camera, like certain movies that came out the same year with the same background (which I do "enjoy" nonetheless)!

As for Kino's edition: I completely agree with previous reviewers. This sure don't look like it was done 40 years ago! Fernando Arribas' incredible (what the hell? breath-taking!!!!) work at the lenses really shines here! There are a lot of small, but enjoyable details, like the bill for the "booby hatch" running across a window when Mr. Bukowski is introduced. Let's not forget this is the one and only John Morghen all of us know and love, too! The score by Alexander Blonksteiner, which does hold its own among giants like Goblin, Francesco De Massi, Walter Rizzatti or Fabio Frizzi, sounds more beautiful (and funky at the same time!) than ever before. When they said 4K, they meant it!!!

If this hadn't been so and despite the fact that the extras are exactly the same as in the old Image/Euroshock collection DVD (save for some very welcome trailers), this would have been worth it's price for the addition of Mr. Tony King's interview alone. He pulled off the very best performance here. Not only informative, but revealing! You will discover that this man has more in common with Cassius Clay and Kareem Abdul-Jabbar than you ever realized! It was real cool and much appreciated they got a hold of him and that he was so open and chilled about it. He shone among a star-studded cast in this movie and it was not the only time!

A great, Happy Birthday edition of the wackiest, most fun ever to be conceived and unleashed upon the unsuspecting world that very memorable year! I extend my biggest, sincerest gratitude to those responsible and those involved!

12人のお客様がこれが役に立ったと考えています

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D. J. Foley

MY GOD SON PUT IT DOWN

2020年3月21日にアメリカ合衆国でレビュー済み

Amazonで購入

This movie turned up on my doorstep Friday 20/03/2020 and that night I watched this release from KL Studios.
Firstly the print is out of this world it looked like it was filmed recently. No film grain that I noticed all the colours really pop out. The 4K restoration of this film is outstanding, well worth every penny for the upgrade.
The sound is great stereo.
Now the film review. Mentally unstable Vietnam vets who were held captive by the Vietcong come back to America after being rescued carrying a dangerous virus that turns people into cannibals when bitten. Even though John Saxon doesn't like this movie to me it's one of his best.
If you like this movie please upgrade to thid Blu Ray release you won't regret it.

11人のお客様がこれが役に立ったと考えています

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Fred Adelman

Not Bad At All

2021年4月15日にアメリカ合衆国でレビュー済み

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Warning: SPOILERS!!! I have always thought that director Antonio Margheriti’s best work was in the early 60’s when he was turning out Gothic chillers starring Barbara Steele (THE LONG HAIR OF DEATH - 1964; CASTLE OF BLOOD - 1964). I found his later films to be highly derivative (even rip-offs) of American films popular at the time. While that last statement may be true, I am beginning to rethink my assessment of Margheriti’s later films. After viewing the uncut version of this film (released to theaters in the U.S. uncut as CANNIBALS IN THE STREETS, on video in butchered form as INVASION OF THE FLESH HUNTERS and in foreign territories as VIRUS), I have come to the conclusion (or is that concussion?) that Margheriti is a minor genius. Sure, this film contains ample amounts of graphic gore and flesh-munching fans of this genre demand, but it’s the subtleties of the performances and script (co-written by Margheriti and Dardano Sacchetti) that make it stand out from the pack. John Saxon gives a quiet, understated performance as Norman Hopper, a retired Army captain, who faces two dilemmas: The guilt he feels after cheating on his wife Jane (Elizabeth Turner) with teenage neighbor Mary (Cinzia De Carolis, as "Cindy Hamilton") and the guilt he hides inside concerning himself, Charlie (John Morghen) and Tom (Tony King), two men he saved from a Vietnamese P.O.W. camp: They are infected with a virus which causes them to crave human flesh. Norman is able to control his craving until he has to save Charlie, who has just chewed a girl in a movie theater and is now holed-up in a department store, keeping the police at bay with a shotgun. Norman convinces Charlie to give himself up and he is immediately shipped off to a loony asylum where Tom is a resident. Norman helps them escape, along with a recently infected nurse (the virus is spread with a bite). With the cops hot on their trail, the quartet hide in the sewers beneath the city, only to get picked-off one-by-one until only Norman is left. Badly wounded, Norman manages to make it home, where he sees his wife get bitten by an infected cop. Norman shoots the cop and Jane embraces him, pointing the gun he is holding at her head. With a loving look from his wife, he knows what he must do. As the police pull up to the house, two gunshots are heard. The police are glad it is over, as we view an infected Mary (who Norman bit during their lovemaking session) watching the proceedings from her window, smiling. This film works on many levels. It has many gross moments (that you will not see in the cut version), including a graphic eye gouging, a tongue being bitten off, impromptu leg surgery involving a mechanic's electric saw and John Morghen’s (real name: Giovanni Lombardo Radice) death by shotgun. He has a hole blown into him big enough to pass a subway car through, as the cameraman obligingly shows us. In my younger years, this would have been all I’ve needed to enjoy a film of this type, but as I get older I need more. A good story would be nice. Thankfully, this film delivers that need. While this film does not have the sociological subtext of George Romero’s DAWN OF THE DEAD (i.e. zombieism = consumerism), it does manage to convey one man’s feelings of loyalty to his family and his comrades. The viewer is made to feel sympathy for Norman, even when he cheats on his wife with his overeager teenybopper neighbor. Norman’s actions in this film are justified, because when you save someone from a life or death situation (as he does when he saves Charlie and Tom during the war), a sense of obligation to those people remains with you till the day you die. John Saxon relays those feelings perfectly in this film. When he is seduced by the underaged Cindy, we can see just by the look on his face that he does not want to go through with it, but when she bares her flesh it is just too much for him (mainly due to the cannibalistic urges that surge throughout his body). This is not a sexual tryst but a loss of his human morality. The finale brings his human side back, where the right decision has to be made. It is very touching without being overly-sentimental. My first article on Antonio Margheriti was one I wish I never wrote. In that article, I basically called him a hack who lost all sense of originality when he started making rip-off films for a living. I am here now to say that I was wrong. I have learned to look more deeply into the films I am viewing (without being overly-analytical like some reviewers, so analytical that you would have to be a psychiatrist to understand the reviews). Sure, CANNIBAL APOCALYPSE is a quickie film whose foremost reason for being is to gross-out the audience, but Margheriti does imbue this film with a sense of right and wrong that you don’t find in most films of this type. Since that article, I have read many interviews with actors and others who have worked with Margheriti. None of them (including John Morghen, Fred Williamson, John Saxon, etc.) have even the tiniest bad thing to say about him. They have all said that it was a pleasure to work with him and that they would work with him again in a heartbeat. He is a funny, knowledgeable person who is not the least bit egotistical. This review is my apology to him. Also starring Wallace Wilkinson, "Ray Williams" (Ramiro Oliveros), Paul Costello, May Heatherly, Goffredo Unger, Venantino Venantini and Margheriti's son, Edoardo Margheriti, in an uncredited role as a police officer. While I still do not care for some of his films (YOR, THE HUNTER FROM THE FUTURE - 1982; THE ARK OF THE SUN GOD - 1983; THE HUNTERS OF THE GOLDEN COBRA - 1982; CODE NAME: WILD GEESE - 1984 [I may have to revise my opinion of all these films!]), I have come to respect some of his later works due to that thing that happens to most of us: Growing up. While no masterpiece, CANNIBAL APOCALYPSE is an above-average entry, because it offers some meat with it’s bite. Vestron Video (SP speed) and Video Treasures (EP speed) offers the cut R-Rated version on VHS. Avoid those. Get a hold of an uncut version instead. Image Entertainment offered a beautiful uncut widescreen edition on DVD as part of their "EuroShock Collection" with hours of extras (now OOP). UPDATE: Now available on an Uncut, Unrated Blu-Ray from Kino Lorber. It looks amazing. and well worth the twenty bucks I spent for it!

5人のお客様がこれが役に立ったと考えています

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M. Britton

What a way to see this cult classic. This KIno blu ray is phenominal!!

2020年3月22日にアメリカ合衆国でレビュー済み

Amazonで購入

Was hesitant on picking this up on blu ray since I have had the DVD of Cannibal Apocalypse for years. Glad I purchased this blu ray! This is one great looking transfer from Kino. The detail and clarity is outstanding for this classic from 1980. Would have never thought this film could look so good!! Presented also is another outstanding commentary from our friend Tim Lucas (this guy is informative!) along with a few docs and unnecessary Kino trailers. If you are a fan of Cannibal Apocalypse do yourself the favor by upgrading to this wonderful blu ray from Kino. You will not be disappointed!

8人のお客様がこれが役に立ったと考えています

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Cannibal Apocalypse (aka Invasion of the Flesh Hunters) [Blu-ray]

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