Two Evil EyesDirector: Dario Argento, George A. Romero
William Lustig's Blue Undergournd continues building its reputation as the premier distributor of often neglected chillers with their near perfect two-disc release of the George A. Romero/Dario Argento collaboration Two Evil Eyes. Presented in 1.85:1 anamorphic widescreen, the image in both segments is bold and clean. Given that much of film takes place in/i>
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Two Evil Eyes based on 0 ratings. 2 reviews.
Two Evil Eyes is a brilliant idea- to bring together two of the most important genre directors in one film where thematically, the union would explode into a pyroclastic flash of greatness, single-handedly setting the course for where horror was headed in the 90's. Sort of a proto-Body Bags, if Body Bags had instead been proto-Masters of Horror, which itself would have been a Creepshow-esque union of about 4 or 5 of horror's greatest directors (let's say: Argento, Carpenter, Craven, Romero, and Cronenberg). Which would have been near-impossible but given how well every director had worked outside the Hollywood system, worth the effort. But it's also a tainted idea at the foundation: a union of 2 directors who had previously worked together and had a previously established 10-year+ mutual friendship. Romero and Argento famously collaborated on Romero's signature sequel to his game-changing 1968 film, Night of the Living Dead, and here are merely re-uniting. Which makes this film a slight compromise instead of the jackpot collab fans really wanted: Carpenter and Argento double-billing. (Don't pretend to be shocked, we all know it's true.) And so what Two Evil Eyes is is Argento going crazy with the exact results you'd expect, twisting a classic piece of literature until it completely becomes his own beautifully nasty and dark nightmare... and Romero (in his truly miserable phase between the cataclysmic failures Monkey Shines and The Dark Half) half-phoning it in. I like Romero's half of Eyes. But I believe I may be the only one. Creepshow is one of my favorite things on the planet and so Romero bringing back Adrienne Barbeau as another alcoholic, soul-poaching, social-climbing domestic is like music to my ears. I also like studly Ramy Zada. Who may have the unfortunate background of a soap opera D-lister but he really lit up the screen in 1989's horror anthology After Midnight (given to us by the team of writers behind a bulk of Nightmare on Elm Street 4, probably the best sequel of that franchise- let's be honest). Argento is making art, Romero is making schlock. But I can't help liking almost all the elements, pretty much as-is. Even if the arrangement needs work. I love the themes of technology, modern lifestyle corruption (don't read too much into that), and cash being a kind of metaphorical demon. I love Zada's by-the-book pragmatist and how he offsets Barbeau's unraveling gold-digger.
George Romero and Dario Argento are probably the best horror directors since Hitchcock. These two tales of terror are sure to have you looking over your shoulder after viewing them. Harvey Keitel's turn in ''The Black Cat'' is one of the best in his career. Romero's story starts out slow, but the payoff is grand! Delicious horror! Sink your teeth into this one!