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The Lake House (also known as weekend death) is an intense suspense survival drama directed by Canadian author William Fruet (who also created the drama of 1972 white wedding, the funeral creepy, and the murderer telepathic snake show spasms) and fantastic Brenda Vaccaro (fresh from his Oscar nominated role in Once Is Not Enough) and a real menacing Don Stroud (Bloody Mama, The Amityville Horror) in a deadly game, terrible cat and mouse.

Weekend death made some small critical acclaim when it opened in 1976, but was considered, however repugnant to many who could not handle his sexual blatant violence and brutality. (Interestingly, American film debut title The Lake House was a marketing attempt to build on the success of the equally brutal Wes Craven The Last House on the Left. ) If you can imagine Sam Peckinpah's Straw Dogs set in Canada and with a female protagonist of resources (Vaccaro), which is on track to imagine death. They were still based on a true Fruet happened in her native Canada, and the film has a realistic level of ugliness that was rare in the 70 movies and still going to hit today.

Weekend begins with the death of beautiful model Diane (Vaccaro) and hot dentist Harry (Chuck Shamata) accelerate the field happily on their way to the opulence of Harry (and very isolated) assets of a lavish party hosted by the orthodontist rich. After Diane auto enthusiast takes the wheel, the two are contested by four thugs thin in a red pickup a game of chicken, which is all set to Diane. After outdriving leering bullies and takes them to a ditch, Diane and Harry come home - and Diane soon begins to suspect that things are not what they seem to discover that there are no other customers have come to hit is Harry. As luck would have for our hero, Harry becomes a degree that fits a pervert lewd pictures of her in the shower in a secret room behind a two-way mirror and has no intentions of the other guests arrive, preferring to Diane has to himself.

Diane is shocked when he realizes the true motives of Harry and prepares to leave, but she and Harry made a surprise visit for the same underworld quartet terrified beasts on the road before. No wild-eyed leader Lep (Don Stroud), Runt errors with glasses and eye (Richard Ayres), laughing group of clowns Stanley (Don Granberry) and rotten teeth numbskull Frankie (Kyle Edwards), and none of them has the slightest regard for the safety and respect for others. The thugs torment Harry and Diane, holding them captive, and frolicking in the entire property and destroy everything that comes into contact with. Harry tries to negotiate with them and offer them money for your wrecked car if you are just out, but the four crazed villains have other plans in mind - including rape and shoot Diane Harry to death with a rifle. In the end, it's up to Diane to fight for his life against the insane ... and the child does it ever attract a booby-trapped by a fire in, quicksand, and the throat open with a piece of mirror in his attempted rape of Runt, even cutting back.

Death Weekend awards received from Sitges - International Film Festival of Catalonia in 1976 for Best Actress (Vaccaro) and Best Screenplay (Fruet) and deserved the two, Vaccaro, in particular. Her performance as Diane carefree model is immersed in a desperate fight for his life and sanity with four vicious thugs is powerful and real, easily able to engage the audience in your situation. Don Stroud distilled fierce machismo and the threat as Lep reckless sociopath who has little regard for human life and can not stand the fact that a girl like Diane can outdrive - the final blow to his ego narcissist. Chuck Shamata (The Devil and Max Devlin) is convincing as the financial security that Harry is horrified to see their prized possessions - including his luxury motor boat and works of art - cruelly destroyed by the League of brutes.

Weekend death has run for years on VHS and still have not seen a DVD release, so it has become a coveted collector's item. It's hard to believe as a fascinating, well-made thriller has been ignored by distributors for so long, and I think it's worth the high price to be paid these days to buy a copy. Weekend death is always tense, harrowing and brilliantly acted, and the rate is 8.5 out of 10.

Bangla cinema refers to films made in the Bengali language in the Bengal region of Asia. One of the first film industries in India. The Bengali film industry is based on two areas: Tollygunge (an area in south Kolkata, West Bengal) and Dhaka (capital of Bangladesh).

Its origins go back when the "Bioscope" was established as an additional attraction to theater in the 1890s. Royal Bioscope Company established by Hiralal Sen, is credited with starting the industry. Later, in 1918, Dhirendra Nath Ganguly established Indo British Film Co. is the first company-owned production Bangla.

At first, the early incarnations of Bangla cinema produced scenes and dance sequences Bengali plays at the Theatre Star Theatre, Minerva, and Classical Theatre.

The first feature film was Billwamangal Bengali, made a silent film in 1919 and produced by Madan Theatre Company Calcutta. But since this is a silent film, perhaps technically, the difference goes to the Shashthi Jamal, a film or a sound talkie released in 1931. Popular Bengali film directors at this time included Debaki Pramathesh Barua and Bose.

In the decade of 1950, the Bengali film industry pioneered the "parallel cinema" movement. Also known as the Indian New Wave, this movement is characterized films with serious content, realism, and the description of socio-political climate of the time. From Bangla natok, the movement spread to the rest of the other film industries in India, providing an alternative to the general rate.

Classic Bangla films include Nagarik (1952), Jalsaghar (1958), Ajantrik (1958), Neel Akash Neechey (1959), Devi (1960), Meghe Dhaka Tara (1960) The Apu Trilogy (1955-1959), and the Calcutta Trilogy (1971-1976).

Notable Bengali filmmakers include Satyajijt Ray, Ritwik Ghatak, Mrinal Sen, Tapan Sinha, Budhhadeb Dasgupta, Rajen Tarafdar, Gautam Ghosh, Aparna Sen, Chakrabarty Utpalendu, Rituparno Ghosh, Sandip Ray, and Senator Raja

Canada Film is a miniature fireball of genius filmmaking. The spectacle of visual aesthetics. A "little giant" in the film industry that is universally known as the Hong Kong cinema. No other film in the world has realized the great variety of methods of film as good as Hong Kong. All parties. In all cultures. It sailed between the fight against the currents that flow of ideas without prejudice to its core and identity. From the strong focus on Hollywood action movie stunts dream of Chinese cinema, Hong Kong has perfected the formula for rapid surrealist art. Catnip for movie fans with short attention spans.

The industry of Hong Kong in the film is a canvas of its rich heritage. Comprised of the different countries they occupied. The unique blend of Eastern and Western influences is what distinguishes it from other Chinese cinema as Taiwan and China. During the transfer of sovereignty in the late 90's, the film industry suffered a setback shortly. Hong Kong cinema has since recovered. His comeback has been credited to its resilience and smart marketing strategies. The merging of television, music industry and the cinema of Hong Kong helped keep afloat in the current business climate problems.

HK cinema has come up with some great classics that have influenced Western cinema. For example, "House of Flying Daggers" is a film made in 2004. It's an action movie and romance, which had great success in Canada and U.S. markets as well. Surprisingly, the film did so well in these countries even though people did not understand Kantonese had to read subtitles to understand the story.

Westernized films like Kill Bill also shown. You will be able to recognize the Asian style of the film, however, the film was made in English. This shows the degree of influence of art and style of Hong Kong cinema was in the films of this era.

In conclusion, HK cinema is a less subtle but pervasive entertainment. It has avoided the pitfalls of complexity while capturing the imagination of audiences around the world. The films are very artificial visual escape the sad reality of life. An effective film production confronts reality with the surreal images screen aesthetics and art. HK film is effective because it does not pretend to be something it is not. The disconnect between reality and fiction is clearly shown in full-blown Technicolor. Like magic. Nothing more. Nothing less. And like any magic show, his reverence can only be achieved through complete abandonment of logical thought.