The second track with Robert Monell and Rodney Barnet is also adept and surprisingly doesn’t overlap very much (apart from both obviously going into Madrid’s work within and outside of cinema) as they chew on mid-‘70s Spanish horror cinema and really dissect Rocha’s unusual and fascinating presence that really proves to be the make or break element of this film. A groundskeeper's son, who is mentally unstable due to childhood trauma, goes on a murdering spree where his perception of reality is distorted by imagining people as mannequins and vice versa. The transfer is touted as a new 4K restoration from the original negative and comes with a disclaimer at the beginning about the less than ideal storage conditions over the years, the presentation here is such a huge improvement that it’s tough to quibble. Drama, Horror. Save yourself from the Attack Of The Killer Dolls. Looking for a slightly scary movie to watch this Halloween? For even more, visit our Guide to Horror ... if you dare. The Countess’ daughter, Audrey (de Santis), starts to take a romantic interest in Paul, but things take a sinister turn when a masked killer keeps bumping off people in the vicinity and nightmares start to intrude violently into reality. Paul’s med school plans got derailed, so now he’s staying at the house while his father works as a groundskeeper. 38 secs. 38 secs. Speaking of Rocha, don’t miss his video interview here (24m33s) as he answers the many, many questions you probably have after watching the film including his rapport with his cast members, his earlier roles (including the reason for his name change), the tragic young fate of one of them, the amusing supporting role for his own brother, his involvement in other aspects including the editing, the censorship reasons the location for the story was (unconvincingly) given a French identity, and his memories of his director. People have often carried a bizarre fascination with dolls, both as a collectible and an object reflecting childhood fears. By Adam Symchuk Sep 08, 2020. Starring David Rocha, Inma de Santis, Helga Liné Definitely not to be overlooked is the outstanding music score by Alfonso Santisteban, which will be pure catnip for fans of ‘70s Italian film score thanks to its similar funky, spooky style. Miguel Madrid's second film after "Necrophagus" is a psycho thriller with dolls,mannequins and giallo elements. Brand new interview with actor David Rocha A groundskeeper's son, who is mentally unstable due to childhood trauma, goes on a murdering spree where his perception of reality is distorted by imagining people as mannequins and vice versa.   |  98 min "Killing of the Dolls" is even more bizarre than his campy debut as it features some surreal hallucinations seen by the main character,who enjoys killing sexually active women.The film is more competent than horrible "Necrophagus" and it has enough creepy looking dolls and mannequins to satisfy me.The camera work is shoddy and the acting is over-the-top,but there are some bloody murders via knife,axe and scissors plus cheesy musical number.I truly adore mannequins,unfortunately they are used in horror movies very rarely.During production of our third horror short "Nightmares of Mutantoid" we used many charred,dismembered and bleeding mannequins. Directed by Miguel Madrid Brand new audio commentary by Kat Ellinger Colors look excellent, the film grain has been left intact, and apart from a bit of damage and one minor SD insert, it’s in very good shape. With David Rocha, Inma de Santis, Helga Liné, Elisenda Ribas. DISC FEATURES Brand new 4K restoration from the original negative Region free Spanish audio track with newly created, optional English subtitles DISC FEATURES They also go quite a bit into the psychoanalytic approach of the script, the nature of real serial killers' perceptions, and plenty more. Finally a new two-part video interview (27m43s and 21m10s) with Dr Antonio Lázaro-Reboll, author of the book Spanish Horror Film, tackles the unique nature of Spanish horror compared to the output of its European neighbors, the long cycle inaugurated by Jess Franco and Naschy, the distinctive aspect of this film compared to the more monster-oriented films that preceded it, the tendency to shoot clothed and unclothed versions of films in the 1970s, the birth of the Sitges Film Festival as a way to boost tourism (and the controversial involvement of Madrid's debut, Necrophagus), and the impact of the collapse of the Franco regime and the Spanish moviegoers’ attitudes compared to the demands of international audiences.

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