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Ghosthouse is a 1988 Italian haunted house flick written and directed by Umberto Lenzi under the amusing pseudonym of Humphrey Humbert. This oddball supernatural thriller opens in 1967 where funeral director Sam Baker (Alain Smith) has given his daughter Henrietta (Kristen Fougerousse) a creepy looking clown doll that was supposed to be buried with it’s owner. He locks the now strange behaving girl in the cellar for killing their cat with a pair of scissors and soon he and his wife (Susan Muller) are brutally murdered and the young girl dies locked away there. Still with me. The film jumps to 20 years later where HAM radio operator Paul (Greg Scott) and his girlfriend Martha (Lara Wendel) get a strange signal that they track back to the now abandoned Baker house. Obviously, something evil lurks within the house and if malevolent entities, creepy clown dolls and ghostly dobermans don’t get them, the mentally unbalanced caretaker Valkos (Donald O’Brien) will. This is not a good movie in the strict definition of the word but, I did have fun with Ghosthouse for the entertaining mess it is. The plot is nonsensical and all over the place. There is no reason ever given as to why Paul and Martha are contacted…and by HAM radio, no less. Also, once it quickly becomes obvious that there is nothing but, danger and death in this creepy old house, why do these nimrods stay and continue to enter it…even when their numbers start to gruesomely dwindle. As for the backstory…what funeral director in his right mind would give his daughter a doll from a deceased child, especially a creepy one like this. And since no background is ever given on that child, we have no idea why such malevolent forces are so pissed and vengeful about it. Also, why does Henrietta…who died when she was about seven or eight years old in 1967…have a tomb that says she... I could go on and on about the plot holes, character illogic and delightful stupidity but, that would ruin a fun ‘so bad it’s good’ horror. Lenzi does manage a few creepy moments. Lenzi’s dialogue writer Sheila Goldberg needs to be left in a haunted house for for her awful lines, though, they provide a lot of the chuckles, and the acting is as entertainingly bad as one might expect. Source: MonsterZero NJ's Movie Madhouse

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  • Antonioni, Or, the Surface of the World

    Univ of California Press. 1985. ISBN: 0520907663,9780520907669. 384 pages.

    Michelangelo Antonioni is one of the great "visual" artists of the cinema. The central and distinguishing strength of Antonioni's mature films, Seymour Chatman argues, is narration by a kind of visual minimalism, by an intense concentration on the sheer appearance of things and a rejection of explanatory dialogue. Though traditional audiences have balked at the "opacity" of Antonioni's films, it is precisely their rendered surface that is so eloquent once one learns to read it. Not despite, but through, their silences the films show a deep concern with the motives, perceptions and vicissitudes of the emotional life.This study covers films not dealt with in any other book on the great director, including "Il mistero di Obertwald" (1980) and "Identificazione di una donna" (1982), which have not yet been seen in the U.S. Its coverage of the early documentaries and features, when Antonioni was forging his new and original stylistic "language," is especially full.In a free-ranging analysis of the evolution of Antonioni's style that quotes liberally from Antonioni's own highly articulate writings and interviews, Chatman shows how difficult it was for the filmmaker to liberate his art from the conventional means of rendering narrative, especially dialogue, conventional sound effects, and commentative music. From his first efforts to his triumphant achievements in the tetralogy of "L'avventura, L'eclisse, " and "Il deserto rosso, " Antonioni's acute sensibility struggled to achieve the mastery that has won him a secure place in film history.Chatman's study is the only complete account of Antonioni's work available in English. Its novel visual approach to the films while attract not only film scholars but also readers interested in painting and architecture both important elements of Antonioni's work."


Lara Wendel - IMDb

Lara Wendel, Actress: Tenebre. Lara Wendel was born on March 29, 1965 in Munich, Germany as Daniela Rachele Barnes. She is an actress, known for Tenebre (1982 ...

Lara Wendel - Wikipedia, the free encyclopedia

Lara Wendel (born 29 March 1965) is a German actress, active in Italian cinema and television.

Lara Wendel - Rotten Tomatoes: Movies | TV Shows | Movie ...

Lara Wendel Celebrity Profile - Check out the latest Lara Wendel photo gallery, biography, pics, pictures, interviews, news, forums and blogs at Rotten Tomatoes!

Лара Вендель (Lara Wendel ...

Лара Вендель (Lara Wendel) - Фотографии, биография, фильмография - Афиша

Lara Wendel

Lara Wendel

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home foto lara wendel lara wendel

Lara Wendel

Lara Wendel

  • Spielen Wir Liebe
  • Un Dramma Borghese
  • Intervista
  • Ernesto
  • Identification of A Woman
  • Desideria La Vita Interiore