A few notes about how I've cataloged the following: Directors are labeled under their most commonly known name (example: Aristide Massaccesi will be filed under Joe D'Amato). Films are listed under their most commonly known titles with other common alternate titles in parenthesis (example: City of the Living Dead (aka The Gates of Hell)).
One of the more entertaining and endearing aspects of Italian genre cinema is its proclivity for piggy-backing off of the successes of better films. They would do this by either doing a straight copy of the film or by using their titles to suggest that their film is a sequel to the more successful American film. Whether it was Fulci claiming his Zombi 2 was a sequel to Romero’s Dawn of the Dead; Great White being nothing more than a Jaws rip-off; Beyond the Door as the Italian version of The Exorcist. And lest you think the Italians only ripped-off American horror films, let’s not forget 1980’s Patrick Still Lives – the unauthorized sequel to the Australian film Patrick. One of the most notable amongst these copies/unauthorized sequels was Luigi Cozzi’s 1979 Star Wars rip-off, Starcrash. This quickie cash-in came just a year after Lucas’ filmand did pretty well at the Italian box-office; it’s also considered one of the best so-bad-it’s-good cult movies alongside films like Troll 2 and The Room. Just one year after Starcrash, Cozzi turned his attention towards another wildly popular Science-Fiction film: Ridley Scott’s Alien. Hoping to repeat the success of one shameless rip-off, Cozzi was at it again with Contamination. Now, depending on your mileage for these types of movie experiences (specifically Italian genre movie experiences like those of Nightmare City and Hell of the Living Dead), you will either find much to abhor about Contamination or much to love. I, as I’m sure you’ve guess by now, am of the latter mindset.
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"I suppose I think of film criticism the way I've heard Hebrew scholars describe their approach to the Torah: It's not about discovering dogma, it's about learning to ask meaningful questions, even if you can never fully answer them."
--Jim Emerson
"Style is supposed to express content, dammit--not disguise a lack of it! The meaning of a film is in what these images on the screen (and don't forget the sounds!) do to you while you experience them [...] If you ask me, we should stop seeing style and content as separate entities. In a good film, they're a natural unity."
-- Peet Gelderblom
"Clearly, this does not mean that Friday the 13th is more "valuable" than Jeanne Dielman [...] But, given the great many people who have seen Friday the 13th, where is the intellectual dignity in saying, "it's crap", and being done with it? Anything that has become an iconic part of popular culture is therefore inherently worthy of exploration if not automatic respect [...] If we simply throw it out with the bathwater, on the grounds that it isn't "artistic", we also throw out the possibility of ever finding out."