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Nosferatu vs. Father Pipecock & Sister Funk

2014, regia di Tony Watt (con Vivita e John Migliore)


Scheda: Nazione: Canada - Produzione: Slum Goddess, Tony Watt - Distribuzione: Slum Goddess, Tony Watt - Soggetto: Tony Watt - Sceneggiatura: Tony Watt - Fotografia: Tony Watt (come Slurpy Goodwill) - Montaggio: Vivita, Tony Watt (come Hashpipe Diabetes) - Art Director: Clarence Trigonometry - Musiche: Peter John Ross, Sophia The Cat, Vivita (come Marilyn Monsoon), Tony Watt (come Prometheous Roquefort) - Effetti speciali: Pepe Chingadero & Vivita,  Elvis Parsley - Formato: Color - Durata: 134' (82').

Cast: Max Schreck, Vivita, Tony Watt, John Migliore, Kelly Mari, Sophia The Cat, Saira De Goede, Kim Sønderholm, Gustav Botz, Sgt. Brando, Unknown Cat, Sandy Fluffer Dahl, Karl Etlinger, John Gottowt, Alexander Granach, Wolfgang Heinz, Guido Herzfeld, Ruth Landshoff, Max Nemetz, Loni Nest.





Plot Summary, Synopsis, Review: IMDb - - - - - - - - - - «Ontario-based director Tony Watt has always filled his lengthy B-move epics with all manner of filters, foley and fun, and no other project he's attempted so far matches with his distinctive style as well as Nosferatu vs Father Pipecock and Sister Funk. Like What's New Tiger Lily and Beware! The Blob, the film alters an older film--in this case F.W. Murnau's silent horror Nosferatu (1922)--with jokey dubbed dialogue and some new footage inserts. The plot isn't too much different, at first: a man goes to visit Count Orlock (Max Schreck), who is secretly a bald bloodsucking vampire. But in this version the infamous vamp comes up against 1970s blaxploiation flick refugees priest Father Pipecock (Watt) and lascivious nun Sister Funk (Vivita), as Watt and co-director Vivita significantly sex up the German expressionist classic. The humour--heavy on farts and innuendo--won't suit everyone, but Watt's everything-plus-the-kitchen-sink approach seems almost more suited to this kind of project than his horror/comedy/drama projects, and he fills the classic horror film's empty spaces with all manner of digital manipulation, colour tints, grindhouse wear 'n' tear, sound effects, gags and stripper cutaways. It's a bewildering sensory assault, but it's actually more effective than some recent comedy re-dubs, like those featured on Canadian TV sleeper Steve Smith Playhouse, as it's clearly been made as a loving tribute to genre film history. That, and the fact that it clocks in under three hours (unlike some of Watt's other works) makes this an easy entry point into Tex's wild take on Canadian genre film».






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