Daly, Eileen

Cradle of Fear

All About Anna

Razor Blade Smile

The real truth about their mysterious adversary--a vampire--would "rip your mind's fragile hinges," the death's-head CEO of a secret society (Christopher Adamson) warns a human henchman. Your mind's fragile hinges have little to fear from this vampire-action-sexploitation hybrid. Director-writer-editor Jake West desperately tricks up his one-man opus in tech glam: sexpot Lilith Silver evolves from 19th-century vampire victim to modern-day hitwoman in black-and-white, color, freeze-frame, fast and slow motion, cartoon FX, overblown Freudian dreams.

There are moments: in the James Bond-style credit sequence, Lilith's fanged mouth yawns wide, disgorging a veritable blizzard of razor blades. And in the black-and-white prelude, West's camera looks down on his voluptuous vampire, sprawled on a bed, the only color the scarlet drenching her dress, bloodying her mouth. But "artsy" razzle-dazzle can't distract from Razor Blade Smile's overall failure to arouse horror, lust, humor, or any other redeeming response. First-timer Eileen Daley makes Lilith so soignee and hip it hurts; her femme fatale's couture runs to multizippered, skintight black leather, shades, fur hats; the picture's completed by ebony mane, cheekbones to die for, and an extraordinarily mobile mouth with alarming overbite. Lilith kills time at a vampire/goth bar, shagging lesbian or stud, but what she really lives for are century-long power games played with the love of her life--er, death. This cynical horror flick punctures the very conventions that are the genre's lifeblood: encouraging egregious mugging and milking portentousness from every remark, Smile reduces the primal sex-death themes of authentic vampire fiction to kiss kiss/bang bang/bite bite. --Kathleen Murphy

A 19th century woman (Eileen Daly) has become one of the undead, becoming a hired killer in modern times. When she starts knocking off part of the elite businessmen, "The Illuminati," who secretly are taking over business and the government, she becomes the target of a Scotland Yard detective (Jonathan Coote) in this British cult classic.

Sacred Flesh

Torn between sexual desire, her vows of chastity and her fear of eternal damnation, a medieval nun struggles with her sanity.

Bordering on madness, she seeks solace in the savage words of sexual denial that are spoken to her by a disturbing "death nun" vision. Her sanity is further threatened by the imagined figure of Mary Magdalen, who challenges her concepts of sex as an evil, malignant force.

In between these discussions, the nun's mind is filled with brooding, violent, sexual fantasies that push her into a world of blackness, blood, and orgasmic self destruction.

Pervirella

The beautiful young Pervirella, nurtures a sex demon of incredible lethal powers within her bountiful bosum. Powers only contained by a mystic amulet with a rather loose clasp! Powers that can send her into a lethal mating frenzy from which no mortal man

Razor Blade Smile

The real truth about their mysterious adversary--a vampire--would "rip your mind's fragile hinges," the death's-head CEO of a secret society (Christopher Adamson) warns a human henchman. Your mind's fragile hinges have little to fear from this vampire-action-sexploitation hybrid. Director-writer-editor Jake West desperately tricks up his one-man opus in tech glam: sexpot Lilith Silver evolves from 19th-century vampire victim to modern-day hitwoman in black-and-white, color, freeze-frame, fast and slow motion, cartoon FX, overblown Freudian dreams.

There are moments: in the James Bond-style credit sequence, Lilith's fanged mouth yawns wide, disgorging a veritable blizzard of razor blades. And in the black-and-white prelude, West's camera looks down on his voluptuous vampire, sprawled on a bed, the only color the scarlet drenching her dress, bloodying her mouth. But "artsy" razzle-dazzle can't distract from Razor Blade Smile's overall failure to arouse horror, lust, humor, or any other redeeming response. First-timer Eileen Daley makes Lilith so soignee and hip it hurts; her femme fatale's couture runs to multizippered, skintight black leather, shades, fur hats; the picture's completed by ebony mane, cheekbones to die for, and an extraordinarily mobile mouth with alarming overbite. Lilith kills time at a vampire/goth bar, shagging lesbian or stud, but what she really lives for are century-long power games played with the love of her life--er, death. This cynical horror flick punctures the very conventions that are the genre's lifeblood: encouraging egregious mugging and milking portentousness from every remark, Smile reduces the primal sex-death themes of authentic vampire fiction to kiss kiss/bang bang/bite bite. --Kathleen Murphy

Cradle of Fear

Machines of Love and Hate

A mysterious hitchhiker, who can only remember nightmarish fragments of his past is by a car driven by a beautiful, but deeply troubled young woman. He is whisked to her secluded home where he meets her strange parents. Here, in this dysfunctional house of horrors, will his past, present and future, intersect with supernatural phenomena, blasphemous resurrection and apocalyptic revelations. Starring Eileen Daly (RAZOR BLADE SMILE), Tina Krause (WITCHHOUSE 3:DEMON FIRE), and David Runco (FLESH FOR THE BEAST). Directed by Joseph Parda (5 DEAD ON THE CRIMSON CANVAS).

Witchcraft 10: Mistress of the Craft

Sacred Flesh