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Plot: woman is targeted for termination by cybernetic adversaries from the future

As if Nemesis 2: Nebula (1995) wasn't enough of an insult Nemesis 3: Time Lapse (Prey Harder in certain territories) was stitched together from excess footage of the first sequel, with an additional 11 production days. Where Nemesis 2: Nebula (1995) stole from obvious sources, Predator (1987) and Rambo (1985) for the most part, it at least attempted, however meagerly, in some way, to continue the franchise in a new setting. Nemesis 3: Time Lapse has no such aspirations, and shows no interest in building on the initial promise of the original Nemesis (1992) with Olivier Gruner.

Battered and bloody Alex Raine (Sue Price) wakes up in the East African desert with no recollection of what happened to her. She retraces her steps and encounters Farnsworth 2 (Tim Thomerson) who offers to help her get medical attention. Farnsworth 2 gives her "a shot of endo" activating a latent memory warning her to not let Farnsworth 2 get her DNA. She quickly turns the situation around, and kills Farnsworth 2 with his own gun. Alex then passes out as past memories start to wash over her...

After the destruction of Nebula (Chad Stahelski) Raine was taken in by local rebel troops. Once cyborg insurgents wipe out the pocket of rebellion Alex' necklace starts glowing and a light appears in the distance. Following the light source, Alex runs into her half-sister Ramie (Ursula Sarcev) who explains that she has 20 half-sisters, but that Raine's the only one able to procreate, and thus start a genetically enhanced breed able to withstand the cyborg oppressor. Farnsworth 2 and a group of cyborgs imprison Ramie and her sisters and Alex teams up with Edson (Norbert Weisser) and Johnny (Xavier Decile), a somewhat damaged descendant of Max Impact from Nemesis (1992). Edson and Johnny are captured in the chaos when bounty hunting twins Lock (Sharon Bruneau) and Ditko (Debbie Muggli) raid the compound where a reprogrammed Nebula is massacring cyborgs. Alex manages to rescue her rebel friends, but then Farnsworth 2 sends a drone that destroys their jeep leaving Alex battered, bloody, and without memory.

Nemesis 2: Nebula wasn't the most graceful of sequels, but it at least attempted to steer the Nemesis franchise into a new direction. Nemesis 3: Time Lapse is the worst kind of sequel as it ignores both the original and the first sequel, and seems in no hurry to actually forward the narrative. As a stand-alone action movie it's functional enough, but it's not as if Nemesis 2: Nebula had raised the bar particularly high to begin with. Instead of setting up a plot device to let Raine get back to her own time, or at least send her on a mission to stop the cyborg uprise before it begins Nemesis 3: Time Lapse does neither. It's so aggravating and creatively regressive that it actually diminishes what little Nemesis 2: Nebula got right. Things wouldn't improve with Nemesis 4: Death Angel later in the year.

The new additions to the cast are hit-or-miss. Sharon Bruneau and Debbie Muggli are fun in their roles as wisecracking bounty hunter twins, but their little subplot is never developed enough to be of any importance. The same goes for Ramie, Johnny, and the 20 half-sisters which really must have been something of an afterthought. Under normal circumstances they could, or should, have been the crux to some sort of plot resolution - but Albert Pyun was apparently in no rush to tie up any loose ends, or develop any character beyond the rough contours of their designated archetype. The Ramie, Johnny, and the 20 half-sisters subplot is interesting enough to build an entire new Nemesis feature around, but that sadly never happened. The action is explosive enough but none of the set pieces are particularly involving. Especially in light of how the greater cast of villains are reduced to nothing more than one-note cannon fodder for heroine Alex Raine.

Not that the Nemesis series was ever known for its special effects work, but Nemesis 3: Time Lapse takes a plunge in that department as well. The pyrotechnics, stunts, and rubber suits are decent enough, but it are the visual effects that make Nemesis 3: Time Lapse the eyesore that it is. Instead of practical - and prosthetic effects there's now an excess of badly super-imposed, Windows 95 post-production effects, of which the neon glow over the antagonists’ eyes, the ripple effect on the dune buggy, and the morph fx used for shapeshifting characters are especially heinous. The lengthy flashback that makes up with bulk of the feature comes with a blue filter that probably only adds to the confusion. There's no shortage of explosive action scenes and the plot, or lack thereof, never gets in the way of the gunfire action. Pyun might not be much of a writer, but he always shoots action scenes well despite a lack of budget. Sue Price always handled herself well during action scenes, and here she does also. Price is the last person to blame for the mess that the Nemesis franchise became.

Somewhere in Nemesis 3: Time Lapse there's a halfway decent action movie. There's no shortage of action, for one thing. Pyun might not be much of a writer, but he always lenses action scenes well no matter how small the budget. Had Nemesis 3: Time Lapse focused on a battle of wits and endurance between the bounty hunter twins and Alex with a few supporting characters acting as allies or cannon fodder, and Ramie and her tribe of half-sisters as the prize it could have been so much more, and so much more effective. As it stands Nemesis 3: Time Lapse is the busiest of the four Nemesis episodes but has nothing to show for it. Just like Nemesis 2: Nebula before it Nemesis 3: Time Lapse doesn't feel much like a sequel, and it would probably have been better as a stand-alone feature. Not that Nemesis sequels would get better with time. In fact the opposite is true.

Plot: newly wed couple fall under the spell of vampire in remote castle

If Roberto Mauri’s The Slaughter Of the Vampires is famous for anything, it’s for making the Italian gothic horror profitable. Riccardo Freda’s and Mario Bava’s I Vampiri (1957) established the horror genre domestically and Renato Polselli’s The Vampire and the Ballerina (1960) acted as the catalyst for the first wave of Italian gothic horrors. It was however The Slaughter Of the Vampire that did for the gothic horror what Pietro Francisci’s The Labors Of Hercules (1958) had done for the peplum at the end of the prior decade. Not only is The Slaughter Of the Vampires a beautifully photographed and atmospheric gothic horror feature, it also is graced by the presence of the elegant and patrician Graziella Granata. Granata is frequently bursting at the seams and she’s the standard to which all feature female vampires will be measured.

Granata debuted in The Pirate and the Slave Girl (1959) opposite of Lex Barker and Chelo Alonso. From that point onward she became a regular in comedy (Fernandel and otherwise), swashbucklers and peplum with the occassional venture into other genres. The Slaughter Of the Vampires is the only horror in ravenhaired Granata’s body of work and memorable for no other reason that she gets to wear very flattering dresses and corsets and that she goes from the obligatory damsel-in-distress to the fang-sprouting antagonist in a matter of a few scenes. Also at hand are prolific actor Walter Brandi – who was a vampire himself in The Vampire and the Ballerina (1960) and The Playgirls and the Vampire (1960) – and future pulp directors Alfredo Rizzo and Luigi Batzella. Batzella would find fame by helming the delirious erotic gothic horror throwbacks The Devil’s Wedding Night (1973), The Reincarnation Of Isabel (1973) and Nude For Satan (1974). Rizzo on the other hand directed nothing of peculiar interest outside of providing stock footage for two very dubious Eurociné features in the next two decades.

In Vienna, Austria in the 19th century newlywed marquis Wolfgang (Walter Brandi, as Walter Brandy) and his marchioness Louise (Graziella Granata) acquire a spacious castle. Unbeknownst to them lying in wait interred in one of the coffins deep within the castle’s wine-cellar is a vampire (Dieter Eppler). In their new abode the couple is looked after by maid Corinne (Gena Gimmy) as well as two housekeepers (Alfredo Rizzo and Edda Ferronao) living on the estate with their young daughter Resy (Maretta Procaccini). To commemorate the occasion of having come in possession of such luxurious estate the couple decide to throw a house-warming party. At the party Louise performs a piano piece she has written for the christening of the castle. She and her friend Teresa (Carla Foscari) ostensibly attract everybody’s attention until a mysterious stranger, unknown to hosts and guests alike, makes his entrance and asks Louise to dance. The mysterious stranger is in fact the vampire hidden in the wine-cellar and who has found his sole purpose in making Louise his living companion, regardless of the cost. As Louise and Corinne both fall under the vampire’s spell Wolfgang sees no other solution than to call on the services of expert in the occult and part-time vampire hunter Dr. Nietzsche (Luigi Batzella, as Paolo Solvay) to exterminate the supreme vampyric evil.

Graced by both breathtaking photography and lush location shooting in and around tenth century Castle d’Aquino in Monte San Giovanni Campano in Lazio The Slaughter Of the Vampires certainly looks better than its kitschy plot would suggest. What it also has in the positively bra-busting Graziella Granata is a gainly leading lady, and later vampire bride, that few have been able to match since. Indeed, Granata exudes a sense of sophistication and aristocracy that could measure itself with the finest of Hammer Films ladies. Graziella owns, despite being dubbed in the international English version, every scene she in – and oozes with sensuality long before she sprouts fangs. The Slaughter Of the Vampire sizzles with eroticism, whether it is in the form of bared shoulders or heaving bosoms in tightly-fitting bodices and dresses. Coming from a more innocent time The Slaughter Of the Vampires is completely bereft of nudity and blood, even though both The Playgirls and the Vampire (1960) and Castle Of Blood (1964) would have some of its female cast briefly shed clothing. Dieter Eppler’s concrete coiffed vampire, who for hitherto unexplained reasons will remain unnamed, on the other hand looks somewhat as a mix of Ed Wood stock actor Criswell and Paul Naschy.

Graziella Granata is perhaps responsible for this movie’s enduring legacy. The Slaughter Of the Vampires, as kitschy and pulpy as it often ends up becoming, is a paean to Granata. Graziella is initially introduced as the virginal ingénue but the prerequisite damsel-in-distress soon turns into a comely seductress that stalks the darkened bowels of the castle to satiate her sanguine hunger. The restrictive and restricting limitations of the genre notwithstanding it’s puzzling that The Slaughter Of the Vampires is Granata’s only horror title. Graziella does so much with so little. An exposed shoulder in a tight-fitting dress, a bit of leg, décolletage so ample and abundant that it makes the average red-blooded male dizzy, and more than enough longing, sultry looks abound. Without shedding even a single article of clothing Graziella manages to steam up whatever scene she appears in. Even when she’s reborn as a vampire cinematographer Ugo Brunelli takes every opportunity to photograph her full feminine form in a dazzling play of light and shadow. In a last desperate bid to thwart the dwellers of the dark Dr. Nietzsche finds Louise fast asleep in her coffin and drives a stake right between her breasts. It’s the sort of production that makes one wonder why Sylvia Sorrente wasn’t cast. Compared to the equally top-heavy María Luisa Rolando, Graziella Granata actually exuded a sense of nobility in spite of her thoroughly Italian corn-fed allure and charm.

The first Golden Age of Italian horror was initially imitative of Hammer Films’ rejuvenation of the horror genre with The Curse Of Frankenstein (1957) from director Terence Fisher. Hammer in the fifties modeled itself after the 1930s Universal horror canon and before long Italy would be carving out its own distinct niche in horror. Sweltering with Mediterranean romanticism and bearing enough of a semblance to Bram Stoker’s classic novel The Slaughter Of the Vampires is gothic horror kitsch at its best. It does in shadowy black-and-white cinematography what Gerardo de Leon would do with Blood Of the Vampires (1966) and what Count Dracula’s Great Love (1973) and The Dracula Saga (1973) would do a decade later in lurid, bleeding color. It makes the best of what little resources it has by having characters walk endless in and around the castle. Granata and Carla Foscari are memorable thanks to the dresses that are barely able to contain their bountiful bosoms. There are dusty hallways, candlelabras, shadowlit corridors, coffins buried by time and dust and the heart of the production is a tragic doomed love triangle. Granata makes a most formidable vampire bride and the conclusion is not nearly as laughably inept as that of The Vampire and the Ballerina (1960).

The Slaughter Of the Vampires is Hammer Horror all’Italiana and through its rustic charm and perhaps old-fashioned sense of style it beautifully sets the stage for later, more delirious exercises of the genre to come. It sports two directors one who would become famous for his absolutely batshit insane gothic horror throwbacks with Rosalba Neri and Rita Calderoni. Alfredo Rizzo, the less innately talented half of the duo, directed his own addition to the gothic horror pantheon with the well-intended The Bloodsucker Leads the Dance (1975), but the only thing Rizzo is remotely remembered for is his loveably dopey Eurowar debacle Heroes Without Glory (1971), graciously plundered for footage by Eurociné for their cut-and-paste feature East Of Berlin (1978) and the proxy-Jess Franco exercise in tedium Oasis Of the Zombies (1982) almost a decade later. Ah, Rizzo always was a better actor than he was a director. The Slaughter Of the Vampires comes from a more innocent and much simpler time when everything was classier. It’s might be a bit strong to call Roberto Mauri’s The Slaughter Of the Vampires an overlooked classic of the genre, but it certainly pushes all the right buttons and has atmosphere in spades.