Showing posts with label Jemma Dallender. Show all posts
Showing posts with label Jemma Dallender. Show all posts
Thursday, November 16, 2023
I SPIT ON YOUR GRAVE (1978) TURNS 45!!!
I SPIT ON YOUR GRAVE (1978) d. Meir Zarchi
I SPIT ON YOUR GRAVE (2010) d. Stephen R. Monroe
I SPIT ON YOUR GRAVE 2 (2013) d. Stephen R. Monroe
I SPIT ON YOUR GRAVE: VENGEANCE IS MINE (2015) d. Richard Schenkman
I SPIT ON YOUR GRAVE: DEJA VU (2019) d. Meir Zarchi
GROWING UP WITH I SPIT ON YOUR GRAVE (2019) (documentary) d. Terry Zarchi
I was a relatively inexperienced viewer when I first encountered the original 1978 I Spit on Your Grave. As a result, while I understood that the terrible situation that our main character Jennifer Hills (played by Camille Keaton) was in, the execution of the story itself couldn’t get past the filter of my Hollywood-honed sensibilities, with its rough edges and middling makeup effects keeping me at a distance.
Thursday, October 17, 2013
I SPIT ON YOUR GRAVE 2 (2013) Blu-ray Review
I Spit on Your Grave 2 (2013) d. Steven R. Monroe (USA)
I was a relatively inexperienced exploitation viewer when I first encountered the original 1978 I Spit on Your Grave. As a result, I couldn’t feel the full impact of the beast since the shoddy camerawork, lackluster performances, and middling makeup effects kept me at a distance. I understood that this was a terrible situation that our main character Jennifer Hills (Camille Keaton) was in, but the execution of the story itself couldn’t get past the filter of my Hollywood-honed sensibilities. Later, as I consumed more alternative and rough-edged efforts, I revisited the film and was not only more affected, but more impressed by what writer/director Meir Zarchi had been able to capture. Like the child who shies away from the bitterness of coffee yet later grows to appreciate a double expresso, my tastes have either sharpened or dulled (depending on your opinion) to see past the flaws wrought by meager funds and limited experience. I now see I Spit on Your Grave (aka Day of the Woman) as a vital piece of exploitation cinema, a brave, fearless and underrated examination of the reality of rape and the fantasy of revenge.
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