Freddie Francis (Tales From The Crypt, Torture Garden) apparently didn't care much for this, his 1974 assignmentfor the Kandel and Cohen production house even going so far as to describe it as worse than Trog We at Nucleus, however, disagree: Craze is a slice of prime British horror sleaze, ripe for rediscovery. It's got everything! It's got Jack Palance (Dracula, Torture Garden, Hawk The Slayer) pretending to be English, exclaiming Jeezus Christ Almighty! and picking up dolly birds in funky psychedelic nightspots! It's got Martin Potter (Goodbye Gemini, Satan's Slave, Cruel Passion) as his paranoid, hard-drinking gay business partner, Julie Ege (Creatures the World Forgot, Legend of the Seven Golden Vampires) andKathleen Byron (Twins of Evil) as ritual victims, and Michael Jayston (Thriller, Quiller, Tales that Witness Madness) Percy Herbert (The Fiend, Black Snake) and David Warbeck (The Beyond, The Black Cat) as a trio of grumpy flatfoot coppers! It's got Suzy Kendall (Up The Junction, Bird with the Crystal Plumage, Torso) as a curly-wigged hooker with a jaw-dropping sex-aid collection, and Trevor Howard, Diana Dors, Hugh Griffith and Edith Evans (you KNOW who they are), slumming it in late-career cameos.
Taped as a lavish cable television special in 1997, One Night Only trades on the Bee Gees' shape-shifting career as pop survivors. Over the course of 111 minutes, this straightforward concert, produced at the MGM Grand in Las Vegas and groomed for both video and CD posterity, sprints through 31 songs from their past three decades. Even after the inevitable disco jokes are expended, and the jaundiced viewer contemplates the role hats, hairspray, and comb-overs now play in dressing the once stylishly long-haired troika, the Gibb brothers' signature vocal harmonies and hook-laden song craft beg respect.Casual listeners can't be blamed for equating the Bee Gees with the dance floor bonanza they reaped through 1978's Saturday Night Fever, yet that commercial zenith was actually the culmination of a comeback for a group that had seemed washed up by the early 1970s. One Night Only thankfully takes an even-handed view of both their original late 1960s hits ("Massachusetts", "To Love Somebody", "Lonely Days"), building from a cannily Beatle-browed vocal sound, and the 1970s blue-eyed soul ("Jive Talkin'", "Nights on Broadway") that led them naturally into disco. The Fever hits are here, as are Gibb originals that clicked for other acts; the family circle also widens for a posthumous duet with their late brother, Andy Gibb, while Celine Dion gets star billing in the collaborative "Immortality". --Sam Sutherland
Taped as a lavish cable television special in 1997, One Night Only trades on the Bee Gees' shape-shifting career as pop survivors. Over the course of 111 minutes, this straightforward concert, produced at the MGM Grand in Las Vegas and groomed for both video and CD posterity, sprints through 31 songs from their past three decades. Even after the inevitable disco jokes are expended, and the jaundiced viewer contemplates the role hats, hairspray, and comb-overs now play in dressing the once stylishly long-haired troika, the Gibb brothers' signature vocal harmonies and hook-laden song craft beg respect.Casual listeners can't be blamed for equating the Bee Gees with the dance floor bonanza they reaped through 1978's Saturday Night Fever, yet that commercial zenith was actually the culmination of a comeback for a group that had seemed washed up by the early 1970s. One Night Only thankfully takes an even-handed view of both their original late 1960s hits ("Massachusetts", "To Love Somebody", "Lonely Days"), building from a cannily Beatle-browed vocal sound, and the 1970s blue-eyed soul ("Jive Talkin'", "Nights on Broadway") that led them naturally into disco. The Fever hits are here, as are Gibb originals that clicked for other acts; the family circle also widens for a posthumous duet with their late brother, Andy Gibb, while Celine Dion gets star billing in the collaborative "Immortality". --Sam Sutherland
Life in prison is the dismal future faced by 'White Girl' , a career criminal who specializes in armed robbery, often posing as a prostitute. Her cell-mate, Cyclona, is a psychotic young lesbian who is about to do life for murder. Cyclona develops a strong passion for White Girl which goes unreciprocated until the two girls manage to break out of prison.On the run, Cyclona reveals a horrifying secret about the victims of her murder conviction. Shocked by what she hears White Girl realizes she's in the company of a serial killer who is following the call of her hallucinatory visions an signs sent from hell, but is in no position to cope on her own, having been wounded in the escape.In a race for their lives, these two desperados tear across the States, leaving a trail of chaos and mayhem on their bizarre road-trip to Mexico
Taped as a lavish cable television special in 1997, One Night Only trades on the Bee Gees' shape-shifting career as pop survivors. Over the course of 111 minutes, this straightforward concert, produced at the MGM Grand in Las Vegas and groomed for both video and CD posterity, sprints through 31 songs from their past three decades. Even after the inevitable disco jokes are expended, and the jaundiced viewer contemplates the role hats, hairspray, and comb-overs now play in dressing the once stylishly long-haired troika, the Gibb brothers' signature vocal harmonies and hook-laden song craft beg respect.Casual listeners can't be blamed for equating the Bee Gees with the dance floor bonanza they reaped through 1978's Saturday Night Fever, yet that commercial zenith was actually the culmination of a comeback for a group that had seemed washed up by the early 1970s. One Night Only thankfully takes an even-handed view of both their original late 1960s hits ("Massachusetts", "To Love Somebody", "Lonely Days"), building from a cannily Beatle-browed vocal sound, and the 1970s blue-eyed soul ("Jive Talkin'", "Nights on Broadway") that led them naturally into disco. The Fever hits are here, as are Gibb originals that clicked for other acts; the family circle also widens for a posthumous duet with their late brother, Andy Gibb, while Celine Dion gets star billing in the collaborative "Immortality". --Sam Sutherland
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