Mondo Squallido

Unspecified Compilation #2: MONUMENTAL/INSTRUMENTAL

2017-05-03T10:26:00.002-07:00

Here we go again ladies and gentlemen!

It's always an intriguing thing trying to come up with themes for compilations like this. It's always fun when you begin to rack your brain coming up with simple and often obscene ideas, but then the realisation of actually compiling the songs hits you and that can be quite tedious at first. Once you get in to the groove though, it becomes equally as fun. You start adding too many songs to your initial playlist and then you are constantly playing songs on repeat to see which songs work and don't work together. The order changes, it gets better and you carry on until you have something that (hopefully) works well!

For the second compilation I thought I would enter the world of the instrumental. I could have used so many songs, but to challenge myself I came up with a couple of rules:

1. You can't pick songs from an artist or band who solely produce instrumental pieces of music.

2. It can't be a demo or an instrumental version of a song that has lyrics.So without any further or do, here's a rundown of what's in store:

1. Lifebeats/Prelude - Jethro Tull (Taken from A Passion Play (Steven Wilson mix))

We're kicking things off with something a bit quirky. Don't you hate people who use that word? This fun little piece of prog insanity is taken from one of my favourite Jethro Tull albums. Got to get the ball rolling and get your attention.... if you like this sort of thing of course...

2. To Woo Lady Kong - Chaz Jankel (Taken from My Occupation: The Music Of Chaz Jankel)

Ah, Chaz Jankel. I think the world of indie dance and electronica owe a lot to this guy. Most will know him from his wonderful work with Ian Dury & The Blockheads, but people forget just how funky and dancey he can be. This one is take from the great best of compilation from Strut / Tirk. A really uplifting jazzy number that has enough synths to drown in.

3. Hawkeye - The Alan Parsons Project (Taken from Vulture Culture)

This was a tough choice! If you are a fan of The Alan Parsons Project you will know that each album has at least a couple of fantastic instrumental tracks. Keeping with this uplifting mood (which may or man not change!), I thought was a perfect follow up.

4. Love 30 - The Stranglers (Taken from Off The Beaten Track)

Changing the mood a little, we're going for something a little bit tricky with a track that boggles the mind when listening to it in headphones late at night. The Stranglers are far from conventional and this is a standout piece of music initially appearing as a b-side to the tremendous Golden Brown. I wonder if the band were watching a lot of tennis whilst on heroin?

5. Walk Evil Talk - The Clash (Rat Patrol From Fort Bragg)

From one of my favourite bands to my ALL TIME favourite band and one of their most overlooked pieces of music. The simple, yet effective piano combined with some of Topper Headon's best drumming make this a must that is just as mysterious and atmospheric as the previous track. I think we're starting to go down a more sinister track...

6. Mountains of Mars - Electric Wizard (Taken from Electric Wizard)

Ah, Electric Wizard! If you love fuzz and classic horror imagery, these guys are the band for you. I'm not a massive metal fan, but when it comes to doom (or the many other names for the genre.), it takes a lot to disappoint. This is mellower than what you can expect from the band, but its equally as powerful as their fuzziest numbers. I told you we're getting dark!

7. I Misses You - The Smiths (Taken from Demos & Outtakes)

Yes, there was a Smiths track in the previous compilation, but this is an essential piece of music for the band. When Morrissey allowed his band to let rip, they delivered. It really shows you just how talented Marr, Joyce and Rourke really are. This is a little lighter, but still has that classic Smiths gloom.

8. Yellow Moon - Uncle Acid and the Deadbeats (Taken from The Night Creeper)

Going back to the psych / doom thing for this one. Just when you thought things were brightening up, right? This an odd little number that instantly reminds me of obscure euro horror flicks from back in the day. A great little album from a band that deserve more exposure.

9. B + A - The Beta Band (Taken from The Three E.P’s)

The Beta Band are one of those bands that where before their time and split too early, but at the right time. They are sorely missed too. They're one of the many bands I got in to thanks to my dad. This track is super laid back with an almost constant soothing cymbal that transports you to wherever you and your joint want to go. I thought it was only fair I perked you up before...

10. The Brooding Side of Madness (Taken from Walker)

I have to admit, as much as I adore The Clash and Joe Strummer, I really didn't care much for Joe's pre-Mescaleros solo work when I first heard it. Thankfully, I have grown much older (can a 28 year old really get away with saying that!?) and my tastes have developed. This is just as the title suggests. An atmospheric, moody number with a simple, but devastating use of piano that makes you feel uneasy, yet comfortable at the same time. A truly beautiful way to close a compilation. We miss you Joe.

Well, that was a little darker than I was intending, but there's a lot to enjoy here and you there will be a part 2 soon.

DOWNLOAD!

PDx

Vinegar Syndrome Review: Deathrow Gameshow (1987)

2017-03-08T08:30:00.000-08:00

“Chuck Toedan Wants You ... To Die Laughing!”

Chuck Toedan (John McCafferty) is the host of the popular yet controversial game show Live or Die in which the contestants are death row inmates who get one last shot at fame, freedom and prizes for their families (there's an idea for you President Trump!). After beheading a good old fashioned family man, Chuck is greeted by a rowdy group of protestors outside of the studio, one of which being the beautiful leader of the Women Against Anything Men Are For (WAAMAF for short or what we call feminists nowadays) group; Gloria Sternvirgin (Robyn Blythe). Their paths cross again when they guests on a chat show debating moral value of Live or Die. Their debate bleeds out in to the parking lot until they are suddenly attacked by a couple of armed goons. Making a quick getaway, Toedan makes the realisation that they are grunts from mafia trying to seek revenge for the death of the head of the Pappalardo family, a previous contestant on his electrifying game show. This puts both his and Sternvirgin's lives in danger and he is posed the biggest moral question of all – should he continue with the show or get his well groomed behind out of the picture before it's rubbed out by someone else? Well, money talks so he carries on, but when Luigi Pappalardo (Beano) is sent to finish off the job, maybe that will convince him.

As you can tell by the concept and some of the names used in the film, this is one of those camp and off-the-wall late 80's comedies. As with a lot of these low-budget horror comedies, the humour is there, but doesn't always work. Some of the character's names did give me a giggle and there is a genuinely funny gag involving a children's crossing and a great moment of fourth wall breaking (probably my favourite segment of the film). That being said, there are many crude jokes, innuendos and all round childish gags that did make my eyes roll. As much as that aspect did often frustrate me, this film never takes itself too seriously and you do get the impression that this was a fun shoot to be involved in. The story is fairly simple, but works and is well paced. Quite well written actually. The actors put in a decent effort and have great chemistry (thanks to the fact that nearly everyone involved has worked with each other multiple times up to that point.), but there are moments that do make you cringe slightly. In terms of production value, I think everyone did a solid job. Craig Bassuk's cinematography is solid with some really nicely staged shots. Tim Shoemaker's editing is equally solid, if not better. As well as that, there's some great stunt work, practical effects and a great score / soundtrack from Gregg Cross (the film's opening theme is great and worth a listen on its own!). All in all, it's a very solidly crafted and executed piece of low-budget comedy. It may not be my cup of tea, but I can definitely see why this has a cult following.

For fans of the film, you are in for a treat with this release from Vinegar Syndrome. The film is scanned, restored & preserved in 2k from the 35mm original camera negative in a DVD & Blu-ray combo release. The film looks and sounds great, especially the vibrant colours used throughout. As well as that, there's an introduction to film by Mark Pirro as well as a commentary track with himself, Blythe & McCafferty which I found to be both insightful and full of great trivia. To compliment that, there's the 2015 Director's Cut of the film which has some quite questionable additions and tweaks (Pirro does refer to it as a Lucas-like remaster), a trailer, TV spot, image gallery and a director bio. The main special features on this disc are the making of documentary (includes information found in the commentary as well as other entertaining nuggets) and couple of Pirro's short films. These are Buns (1978) and The Spy Who Did it Better (1979). Buns follows a serial killer who murders anyone eating a hamburger and The Spy Who Did it Better is a nice parody (correct music cues and all) of the James Bond films. Both films have the same bizarreness and often bad taste that we find in Deathrow Gameshow and are great additions to this release. I actually think The Spy Who Did it Better is my favourite thing on this disc. All of these wonderful extras are topped off with reversible artwork. All in all, this is a must for hardcore fans of the film and those who like the campy side of 80's cinema. The film wasn't great, but it was by far a dull experience and I have to give credit where credit's due; it's great to see that Pirro is still very active in low-budget scene today. How many times can you say that!?

Deathrow Gameshow is available as a DVD / BluRay Combo from Vinegar Syndrome as well as being streamable on Exploitation.tv.

PDx

Unspecified Compilation #1: Oh, Manchester...

2017-02-23T02:13:00.000-08:00

There's a hell of a lot dust flying around here. If there's one thing I am terrible at – it's keeping this place up to date. I'm sure you've heard it all before. Recently, I rediscovered my Innerspace posts from back in the day. If you are a regular reader (first of all, thank you so much!) you may remember the Innerspace series. It was basically a short-lived monthly series in which I would compile (with help from my soul brother Mr. Daniel Lee Harvey) a selection of songs based around a theme. That died out and turned in to Ultimate Cinemageddon. Eventually that stopped for whatever reason and I stopped compiling songs even though music is probably a bigger passion for me than cinema and craft beer! I basically had an itch to restart Innerspace albeit in a new form and not really under the guise of a specific series. So ladies and gentlemen here is the first in what could potentially be a series of new compilations. Kickstarting with something I love and adore – Manchester.

Although my dad's side of the family is Welsh / Scouse, I've always seen Manchester as my spiritual home. Before I met the greatest person in my life (my beautiful Jeanny of course!), I even had a “dream” of living and working in inner-city Manchester. A city that isn't trying to show off like Liverpool (a city I do love by the way!) with it's Capital of Culture title and shiny buildings. Manchester has that perfect mixture of contemporary, the old and sometimes scruffy. Manchester is never as beautiful as it is when it's overcast. Yes, that's poncey, but I remember the afternoons, mornings and evenings spent in the alleyways and alcoves of the city during my Graphic Design education at Salford (two completely different places by the way!) just marvelling in the honesty and gloom of the city. I remember the early morning hours after nights out just revelling in the silence. My love for the place began before that in my high school years. Going to Wigan on a Friday night and spending the hangover (and my mum's money!) on Saturday in Manchester. I wouldn't be able to do that now of course. I just need to have a couple of beers to feel sluggish the next day. Another major role to play in my discovery and love for Manchester was the music and culture.

My dad rented Michael Winterbottom's 24 Hour Party People a.k.a The Greatest Film of all Time one night and I was instantly hooked. Naturally, next came the Joy Division period of my life and there I was picking up a guitar and getting so impressed with myself when I had learnt Hooky's bass line to She's Lost Control. My dad had always been a fan of Morrissey so he and The Smiths had been implanted in to my psyche from a young age and thus planted the seed. I don't get to visit Manchester all that much now being in Germany, but when I do, it's always a special and somewhat spiritual experience. You'll find me in the Brewdog bar sinking a couple of beers and then making my way through the usual haunts such as Fopp!, Piccadilly Records, The Night & Day Cafe and other historically significant places I won't name off here because I already sound like a pretentious tit. I own the hipster label thrown at me so who the fuck cares, right?

Anyway, the idea to start with Manchester for this series was thanks to getting a tad homesick by reading Hooky's Unknown Pleasures: Inside Joy Division, The Haçienda: How Not to Run a Club (still need to get round to his recent New Order book.) and Mark E. Smith's Renegade: The Lives and Tales of Mark E. Smith. What better way to pay tribute to the city by putting together a small selection of my favourite tracks. No, There isn't any Oasis (for good reason.) or Joy Division (too hard to pick a favourite.) and yes, there are a few Factory related songs scattered throughout!

1.The Smiths- Barbarism Begins at Home (Taken from Meat is Murder)

A classic Smiths song for me. My all time favourite is This Night Has Opened My Eyes, but I thought that was too obvious and why not kick things off with a bit of a jig? Of course you have Morrissey's scathing attack on the school system juxtaposed perfectly with an almost disco / funk vibe. We all know Morissey was backed up by talented and unique sounding music, but this is Joyce, Rourke and Marr at their finest.

2. A Certain Ratio- I Need Someone Tonite (Taken from the I Need Someone Tonite 12”)

Possibly the most underrated band on this compilation. Things may have started a bit funky, but this is taken to a completely different level. That bass line for a start! You listen to a lot of that electroclash stuff that was popular in the 2000's and all you hear is ACR. True pioneers.

3. The Fall- Iceland (Taken from Hex Enduction Hour)

Ah, Mark E. Smith! Ah, The Fall! OK, when you have released 30+ studio albums alone as well as seeing more lineup changes than Shaun Ryder has had drug dealers, not everything is going to be great. In fact, there's a fair few Fall songs that are downright AWFUL! This however, isn't. I have really no idea what the lyrics are about, but that almost constant pace and rhythm is mesmerising and kinda reminds me of LCD Soundsystem's All My Friends. I think James Murphy owes a lot to the likes of Mr. Smith!

4. The Durutti Column- Messidor (Taken from LC)

Vini Reilly may be odd. Really odd in fact, but my goodness is he a wonderful guitarist. There's something so bittersweet with this piece of music. Gloomy, yet beautiful. Much like Manchester itself. Words can't do this track justice.

5. 10cc- Good Morning Judge (Taken from Deceptive Bends)

It's time for a little pick me up and I think this is just right. A jolly little number from a band that I really need to investigate further. First became aware of this wonderful tune thanks to the fantastic re-edit from Mock & Toof which was part of RVNG Intl's RVNG of the NRDS series. This is one of those tracks you can just loop!

6. Dr. John Cooper Clarke & Hugh Cornwell- It's Only Make Believe (Taken from This Time It's Personal)

I am a MASSIVE fan of the original Stranglers lineup and Hugh Cornwell doesn't get the credit from his peers he deserves. I also love John Cooper Clarke's poetry. When I found out they were teaming up together I was confused as I was excited. When I learnt they were collaborating on an album of covers, I was even more confused. This rendition of Conway Twitty's classic is beautiful. In fact, the whole album is a must. Definitely one of the best of 2016!

7. Happy Mondays- Tart Tart (Taken from Squirrel And G-Man: Twenty Four Hour Party People Plastic Face Carnt Smile (White Out))

Aside from coming from the album with best name ever, this a fucking beaut of a song. Happy Mondays are another band who don't get the credit they deserve when it comes to the music. The pills, thrills and belly aches get all the attention. This is just a perfect party track when you're on the right side of fucked. Brilliant video too.

8. New Order- Angel Dust (Taken from Brotherhood)

New Order, but no Joy Division or at least Warsaw!? Are you fucking mad!? No, it was just hard to pick a Joy Division track and in all honesty, I'm more of a fan of New Order. This isn't even my favourite New Order track, but it just seemed to fit in the context of this compilation. That's not to say it isn't a great track. Why would I put it in here if it wasn't?

9. Doves- Firesuite (Taken from Lost Souls)

You don't hear much nowadays about these chaps and you rarely hear Lost Souls getting mentioned. I recently discovered this album and this track and just fell in love with it. Much like Messidor, it's an instrumental track that has a melancholy beauty to it. Great to listen to this as you're traversing the Northern Quarter on a rainy day.

10. 808 State- Techno Bell (Taken from ExEl)

What a banger this one is. The album itself is one of the greatest electronic albums ever in my opinion. I'm reminded of Mr. Oizo for some reason with this one. This is one of those songs you hear now in most electronic music. Some of the sounds in this are phenomenal.

11. The Manchester Mekon- The Cakeshop Device (Take from the A Manchester Collection compilation)

We're ending on a high with probably my favourite song on the compilation. There's something really charming about this one. Another track that seems to have a range of emotions. The Manchester Mekon are a recent discovery for me and a band I am surprised lasted for such a short amount of time. An unsung hero in Manchester's musical heritage. You play this in an indie club now and you're going to blow minds.

Well there you have it ladies and gentlemen. It's not the most original selection of tracks I know, but I didn't want to come across as one of those “Oh my god I am so cultured!” types. I hope these songs move you and all albums these tracks come from are highly recommended from me!

Oh, Manchester...
Here's to the next one. If there is a next one! Oh by the way, you can still download the Innerspace compilations here.

Cheers!
PDx

Vinegar Syndrome Review: Murder Weapon / Deadly Embrace (1989)

2016-12-03T01:15:00.000-08:00

“They lust for revenge... They do it at night... And they're more than lethal.”

When mobster daughters Dawn (Linnea Quigley, CREEPOZOIDS) and Amy (Karen Russell, VICE ACADEMY) by chance meet in an insane asylum, the pair hatch a plan to free themselves. They do this by manipulating and downright blackmailing their psychiatrists Dr. Randolph (Lyle Waggoner, WONDER WOMAN) and Dr. Gram (Lenny Rose, BEACH BABES FROM BEYOND). Once successfully free, the pair decide to celebrate their freedom by holding a little get together. They decide to invite their ex-boyfriends Kevin (Stephen Steward, SHOCK CINEMA VOL.4), Eric (Michael Jacobs Jr, DIE WATCHING), Cary (Allen First, AMERICAN RAMPAGE), Billy (Richard J. Sebastian, DREAM A LITTLE DEVIL), Jeff (Eric “Garbage Day!” Freeman, SILENT NIGHT, DEADLY NIGHT PART 2), Bart (Rodger Burt, LADY AVENGER) and Al (Allen Tombello, EVIL OBSESSION) to celebrate their release and hopefully get a little of welcome home action. Although something of a sausage fest, the party is going well and everyone is having a damn good time. Unfortunately however, things take a sinister turn when the boys slowly start getting picked off one by one in bloody and gory fashion by a mysterious clad killer. Is this the work of rival crime families? Maybe there's some jealousy between the male party guests? Could the father of one of the girls be involved or could it just be the girls getting their revenge on past lovers?

I have to say that going in to this film, I really wasn't expecting too much. Thankfully, what I got was a damn good time. First of all, the story is simple, but works well. It's a solidly written effort from Ross A. Perron (this and AMERICAN RAMPAGE being his only credits) and the use of flashbacks to further the story and answer some of the twists and turns is quite refreshing in such low-budget schlock of its time. There's not too much to some of the characters, but it doesn't matter too much and never hurts the film. Performances through may not be Oscar worthy, but again, it doesn't matter and what are you really expecting? For me, one of the greatest surprises with Murder Weapon is the violence and gore. I was expecting the occasional fit for purpose cheesy gore gags here and there, but what we have instead are a collection of genuinely nasty and quite shocking moments of gore. David P. Barton (300) and his team do a very impressive job indeed with the practical and make up effects. Another quite thing is the fact that the violence and gore is used sparingly adding that punch that most films would lack in that regard. Editing and cinematography are both solid enough and the only slight problem I had with the technological aspects was the sound. Even that is a minor gripe because the only time it was a real issue was when Del Casher's (TROPICAL HEAT) score would be playing over some of the dialogue. Like I said, a minor gripe. All in all, it's far from a perfect film, but it's a damn enjoyable one. It may be a little light on the sleaze and erotic elements, but Karen Russell and Linnea Quigley are a very potent combination so you smut peddlers out there will appreciate that aspect!

“When adultery turns to obsession, the climax may be murder...”
Chris Thompson (Ken Abraham, HOBGOBLINS) is your typical teenage college student. He's got himself a stunning wannabe actress girlfriend named Michelle (Linnea Quigley) that he wants to spend the rest of his life with. One day at college after listening to a lecture from rich sleazeball Stewart Moreland (Jan-Michael Vincent, AIRWOLF), Chris finds himself getting a gardening and housekeeping job from said rich sleazeball (it's not what you know, it's who you know!). The only condition is that he has to stay at the residence which isn't too bad of a thing because Moreland's wife is the lonely and horny Charlotte (Mindi Miller, BODY DOUBLE). With her husband away and getting his jollies with his secretary DeDe (Ruth Collins, DEATH COLLECTOR), it's only natural that her cougar sights are set on the fresh meat her husband has bestow upon on her. With a heartless husband and a madly in love girlfriend thrown in to the mix, this could make for a steamy affair or even a deadly one.

I'd say I hate to surprise you, but I think you know already that it will be the latter. I won't be a prick and completely ruin it for you, but I will say that the final third is probably the strongest aspect of this whole film. The problem with a film like Deadly Embrace is it's not amazing or terrible, it's juts a bit dull. Richard Gabai's (KICKBOXING ACADEMY) script is solid enough, but really doesn't do anything too unique. It's safe to say that you will have seen this film made multiple times in terms of its narrative. The build up to the finale and the psychological aspects however are satisfying, but it's too little too late. Acting is above par and actually a lot more solid than most erotic thrillers of its time and budget, the standout for me being Mindi Miller who plays the bored and lonely housewife perfectly. You sympathise her situation perfectly. The erotic elements of the film work well, mainly in that so bad it's good sort of way. There are those moments where people will be grinding against each other with underwear still clearly visible, but again seeing the likes of Quigley and Miller do make up for that (yes, I'm a pig!). All in all, there's really not too much to talk about with this film. It's your typical 80's softcore erotica, just a tiny bit bland and needing some much spice! Just how was this one of DeCoteau's biggest selling films?

Regardless of what I think of the actual films, this is another winner of a release from Vinegar Syndrome. Both films look and sound great and are presented in 2k from the original 16mm camera negatives. Films of this niche could be seen as undeserving of the restoration they receive, but I for one am thankful that labels like Vinegar Syndrome exist and do exactly this job. The only real imperfections found in the sound and visuals come mainly from the films themselves and the way they were shot, but with that being said, they are both very accomplished productions. Both films come with commentaries from DeCoteau and Quigley, director introductions, a video trailer for Murder Weapon, outtakes for Deadly Embrace and some striking original artwork with some nice gory reversible art for good measure. Yeah, Murder Weapon completely outshines Deadly Embrace for me, but if you are either a fan of DeCoteau, Quigley or cheap erotic 80's schlock – you are in for a breast, blood and cheesy synth filled treat.

Murder Weapon & Deadly Embrace are available as a DVD & Blu-Ray combo from Vinegar Syndrome.
PDx

Vinegar Syndrome Review: Nightmare Sisters (1988, David DeCoteau)

2016-11-22T05:01:00.000-08:00

“Sex isn't their only weapon...”

Melody (Linnea Quigley, SAVAGE STREETS), Marci (Brinke Stevens, SLUMBER PARTY MASSACRE) and Mickey (Michelle Bauer, LUST FOR FREEDOM) are your typical geeky college girls who just can't seem to find a man. When their fellow sorority sisters leave to have parties and spend time with their significant others, the nerdy trio are left to their own devices and decide to have a little party of their own. With slim pickings in the male department, they call the equally geeky Kevin (Richard Gabai, DEMON WIND) to come over with his friends Freddy (Marcus Vaughter, THE VISITANTS) and Duane (William Dristas in his only role). It seems perfect; three boys, three girls and a house to themselves. That is until they decide to have a séance with a crystal ball that flea market obsessed Marci bought earlier that day. The group unfortunately summon a succubus, possessing the girls in the process and turning them in to beautiful sex crazed demons who are hungry for blood. Thankfully, the boys have some breathing space when a trio of their overbearing frat housemates crash the party and find themselves on the receiving end of the beautiful yet deadly succubi. This gives them time to call rent-a-exorcist Perrin (Jim Culver, LADY AVENGER) to hopefully help them get out of this bind and defeat evil. College should be a safe space after all!

Now before I get in to what I think of the film, it should be noted that the film was shot in around four days using a script that took seven days to write and was shot using loose ends of film from DeCoteau's previous film; Sorority Babes in the Sliemball Bowl-O-Rama. With that out of the way, I have to say that Nightmare Sisters wasn't the greatest cinematic experience I've ever had. For an erotic horror comedy, it didn't really deliver on any of those aspects. Sure, there is a hearty amount of nudity, but it really didn't do too much for me, even though the female cast are easy on the eyes and probably the best thing about this movie. Although overly long, the scene involving nubile bath action did stand out however. Comedy wise, it was your typical schlock humour with more jokes missing than hitting. Aside from one genuinely clever and well executed reference to the The Exorcist, there's really nothing there that will even raise a chuckle. What this film does have going for it is a somewhat intriguing story penned by Kenneth J. Hall (CRITTERS) that ultimately suffered with pacing issues, but did bring something unique to the table. There were also moments that reminded me of Evil Dead that I got a kick out of. That's really all that I can say about this film to be honest. It's one of those films that isn't awful, but just quite dull. However, I will say that under the circumstances, they pulled off a film that actually looks like a film. So it's not all bad.

Although the film is something to be desired, props should be given to Vinegar Syndrome for not only giving this obscure cheapie a proper release, but for giving it a release it probably shouldn't really have. The film is presented in 2k from the original camera negative. It looks and sounds great with the only visual issues coming from some the film's actual cinematography in places. In terms of extras there's a director's introduction and an intriguing commentary from DeCoteau and Quigley that is more enjoyable than the actual film. To compliment that, there is an alternate TV version of the film that pretty much tones down the sleaze factor and uses alternate takes, an interview with Hall, outtakes, bloopers and some really cool alternate artwork. If you're a fan of this film or those involved, you probably already own this. If not, you have to buy it. Those looking for an entertaining piece of 80's teen sex comedy, you may want to give this one a miss.

Nightmare Sisters is available as a DVD / Blu-Ray combo from Vinegar Syndrome.

PDx

Vinegar Syndrome Review: Dolemite (1975, D'Urville Martin)

2016-08-08T01:43:00.000-07:00

"Bone-crushing, Skull-splitting, Brain-blasting ACTION!”

Dolemite (Rudy Ray Moore, The Human Tornado) has spent a couple of years behind bars after being set up by rival pimp Willie Green ( D'Urville Martin, Black Caeser). His luck changes when his madam Queen Bee (Lady Reed, Disco Godfather) pays the prison warden a visit providing evidence of Dolemite's innocence. With the warden now rightfully suspecting that Green and a few crooked cops including the hot-headed Mitchell (John Kerry, Black Dynamite) are behind Dolemite's imprisonment, he organises an early release so that Dolemite can clear his name. Unfortunately however, it's not all good news as Green is also responsible for killing Dolemite's young nephew. With revenge well and truly on his mind, Dolemite instantly (well, after some back seat limo action at least.) puts a plan in to action. No matter if it's a brother or a no-business, born insecure, honky junkyard motherfucker, Dolemite is kicking ass and taking names. It won't all be plain sailing though because the word is out and both Green's men, the slimy Mayor Daley (Hy Pyke, Blade Runner) and crooked cops alike all have Dolemite in their sights!

Where in the name of all things funky do you start with a film like Dolemite!? Well, probably it's reputation and cult status. From inspiring the likes of Quentin Tarantino (Pulp Fiction) and Snoop Dogg, to being played at drunken bad movie nights; Dolemite is a film that every cult film fan should have at least heard of. There's the infamous crude overall filmmaking techniques (BOOM IN THE SHOT!) and the even more infamous and crude dialogue spat out with comedic precision from Rudy Ray Moore. If this film is to be summed up in one word, that word has to be politically-incorrect. In this age of Social Justice Warrior culture and collectivism, there is no way in Hell that you'd be able to make this film nowadays. There's more racial tension here than a Black Lives Matter Tumblr thread! If that stuff isn't your thing, maybe you can revel in the sheer mastery that is the martial arts on show. You haven't seen anything so gloriously amateruish in your rat-soup-eatin' life! Of course, it's not just the boys having fun, there's plenty of hard hitting action from Dolemite's army of Karate Kickin' ladies. This film has it all! If you want a truly psychotronic experience that actually lives up to the reputation, you shoul stop reading this and go buy yourself a copy now, but I'm not finished yet. You dig?

Dolemite is all about cheap thrills and one of those thrills is the way the film was made. Clumsily staged shots thanks to Nicholas Josef von Sternberg (Tourist Trap) are complimented brilliantly by sub-par acting. Even the boom mike puts in a memorable performance! Although a cheap looking film, there is genuine style with great set design by Rudy Ray Moore himself and wonderfully loud fashion. As well as that, there's a genuinely brilliant score and original music from Arthur Wright (Savage!) that not only elevates the film, but will have you clicking your fingers and tapping your toes. This blaxploitation gem has all the style your pathetic honky ass can handle. Dolemite is about the experience. Sure, you can invite your friends round have a good timke laughing at the film, but when you take in to consideration the time and effort put in, you can't be help appreciate this shoddy little number. Rudy Ray Moore was destined to be a star and this film put him well and truly on the map and in to the hearts of cult films. This is one groovy little number you don't want to miss!

Although the film was somewhat widely available prior to this release, Vinegar Syndrome have put together the definitive edition. The film is presented and restored in 2k and considering it's crude elements, looks and sounds fantastic. To go along with that you also get the option to watch the alternate full frame “boom mic” version of the film which should provide an extra bit of entertainment to you trash conniseurs! In terms of extras there is a wonderfully in-depth and entertaining commentary track provided by Rudy Ray Moore bigorapher, Mark Jason Murray, an equally insightful and entertaining documentary about Rudy Ray Moore and the film, an extented interview from Queen Bee, trailers for both the film and its sequel The Human Tornado, a short then and now location featurette and the reversible artwork consisting of the original poster and newly commisioned art from Jay Shaw. As you can see, this baby got back! This is a must-own release for both hardcore fans and newcomers a like. Vinegar Syndrome have once again done a wonderful job. Do yourselves a favour and find out why Dolemite is his name and why fuckin' up motherfuckers is his game!Dolemite is available as a DVD & Blu-Ray combo from Vinegar Syndrome.

PDx

Vinegar Syndrome Review: Unveiled (1986, Suze Randall)

2016-07-01T04:48:00.000-07:00

“Your Most Sensual Secret ... Isn't a Secret Anymore.”

Bob (Mike Horner, Oriental Madam) is a lawyer who has the money, unique sexual tastes and his uptight wife Cindy (Krista Lane, Sensations) who won't fulfil any of his needs. Naturally, Bob turns to his favourite hooker (Patti Petite, For Your Thighs Only) to act out his sexual fantasies. Just like his buddy Bob, Ted (Jake Scott, Flesh Tones) also likes to get his kicks away from home and wife Julie (Erica Boyer, Loose Ends). Unlike Bob however, Ted doesn't need to pay for his thrills as he utilises the “administrative skills” of his secretary (Alexis Greco, The Ultimate Lover). After a hard days “work”, Bob and Ted hit up their favourite bar leaving their wives to do some “catching up” back at Bob's place. Whilst at the bar, the conversation unsurprisingly turns to sex. Sex with each other's wives whilst they are asleep (sure would make an interesting episode of Wife Swap!). The morning after their late night antics, the guys decide to hit up their local sex club and unbeknownst to them, they'll be getting a nasty little surprise of their own!

After the sheer joy that was Too Naughty to Say No, I have to say that I was pretty underwhelmed with Unveiled. Don't get me wrong, it's not a bad film, but I just found it to drag, especially in the final third. There's a feel of scuzziness about it, but at the same time there's also a light-hearted and almost slapstick style of humour. Horner's portrayal of Bob often reminded me of the characters Will Forte played in Tim and Eric Awesome Show, Great Job! That being said, he was a joy to watch. The stars of the show for me are Krista Lane and Erica Boyer. What they get up to whilst their husbands are away was for me, the highlight of the film. That's not to say there aren't other memorable moments. Another stand out is the mime sex show performed by Taija Rae (Urban Heat) and Horner in his alternate role. A very strange scene indeed. I think the aspect I enjoyed the most was the style. From the cheesy snyth music credited to Cinema Symphony's (Droid) to Steve Aussi's (Sky Foxes) neon and pastel set decoration; this is definitely a film for fellow 80's style enthusiasts! Aside from that, not one of the most interesting or sensual offerings I have ever seen.

Although the film lacked for me, Guido's (Fleshdance) fantastic cinematography looks even better thanks to Vinegar Syndrome's restoration and overall presentation. The colours really pop out of the screen and the sound is of equally high quality. In terms of extras, there is the original theatrical trailer and a nice video interview with Mike Horner himself. All in all, not a bad little release, especially for those who are already a fan.

Unveiled is available on DVD from Vinegar Syndrome.

PDx

Vinegar Syndrome Review: Trashy Lady (1985, Steve Scott)

2016-06-30T08:03:00.000-07:00

(1985, dir: Steve Scott)

Dutch (Harry Reems, Deep Throat) has it all! He's the money, the looks, a happening nightclub called “The Paradise Club”, the reputation and of course; the girl. That is until his girl Jessie (Cara Lott, Taboo 2) has had enough of his attitude and lack of appreciation. Fortunately for Dutch However, a new dame isn't hard to find especially in your own club! On the same night of his split, Dutch sets his sights on the young Katharine (Ginger Lynn, New Wave Hookers), a new girl in town who sells cigarettes at the club. He soon finds out that Katherine (whom he decides to call Kitty) is a little too innocent, timid and ultimately a tad inexperienced. This leads him to reach out to the tough talking Rita (Amber Lynn, Love Bites) who he enlists to loosen up and teach Kitty a few things and hopefully turn her in to a trashy lady. She is more than happy to oblige and begins to school the impressionable Kitty, who of course is a quick learner and a natural. Unfortunately for all involved however, there's a potentially fatal problem; rival gangster Louie (Herschel Savage, Debbie Does Dallas) is Rita's man. He is soon to be released from prison and he may not be too pleased that his girl is playing for (or should that be with?) the other side. Maybe Dutch should have treated his girl a little better?

I remember seeing a trailer for Trashy Lady on one of the many trailer compilations a while back and being quite apprehensive about an adult film shot towards the end of the genre's golden age that was set around the 1920's. Boy was the younger (and slightly less corrupted.) version of me very wrong. Of course, when I found out that the film was not only shot on 35mm, but was also going to get the Vinegar Syndrome treatment, I became very excited. Thankfully, the film lives up to its award-winning and cult reputation. The story is simple, yet solidly told and has gags that genuinely work. Performances are great throughout with the foul-mouthed Rita being my personal favourite. She's trashy, independent and comes out with some fantastic lines. Of course, the bigger names likes Reems, Lynn and Savage once again prove that there was acting skill back in the day. They are backed up brilliantly with much smaller support roles with performances from the likes of Tom Byron (Lust in the Fast Lane) and Rick Savage (Hollywood Vice). To match the acting, the action is also very solid with of course, Amber and Ginger stealing the show.

The biggest thing people will notice is just how cinematic the film is. Ok, Once Upon a Time in America this is not, but for a film that was shot in two weeks, there is so much scope and attention to detail. This isn't one of these cheap looking period pieces. Right from the films opening credits sequence, you know you're in for a treat! Everything from the set design and costumes to the prop newspapers and vehicles look authentic. Even the selection of music throughout is clearly thought out. That being said, some of the interior scenes also give off that “new-romantic” vibe of the time which add another layer to this already stylish piece of sinema. Overall, Trashy Lady is one of the last true greats of the genre in almost every aspect. Not only that, but it does something that films like this often don't; it has plenty of replay value and you won't be fast-forwarding through boring set pieces. Naturally, a film of this calibre has received an equally impressive treatment from Vinegar Syndrome.

First of all there is the choice of reversible artwork which only has one problem; both covers are fantastic so good luck picking which one to use! On disc there is not one, but two commentary tracks; one with DP Tom Howard (A Portrait of Desire) and David McCabe (Creepozoids) with the other coming from Herschel Savage and Bill Margold (Dracula Sucks). Both are informative and entertaining in their own way. To top off this fantastic release there is also Steve Scott's 1971 debut feature; Coming West. Unfortunately, aside from the gorgeous Maria Arnold (Flesh Gordon), Sandy Carey (Deep Jaws) and Starlyn Simone (A Touch of Sweden), I found this tale of three women daydreaming whilst on a rod trip to be a tad dull. Oh well, at least there's a lot early hardcore nookie I suppose! Honestly, it's still great to see early hardcore efforts like this being preserved and becoming easily available to my fellow sleaze-hounds. It's still a wonderful addition and the icing on an already elegantly trashy cake (it's much better than my attempts at wit, that's for sure!) As you can probably tell, this is a must-own release for anyone with an interest in the genre and also a great release for those who still don't think there was artistry in pornography.

Trashy Lady is available as a DVD & Blu-Ray combo from Vinegar Syndrome.

PDx

Wild Eye Releasing Label Spotlight

2016-06-22T10:34:00.001-07:00

As you may have noticed on the blog, my coverage of contemporary independent cinema is virtually non-existent. That of course, is an unfortunate oversight on my part. Ladies and gentlemen, today I hope to rectify that by doing something that I also rarely do; having a super-duper bumper spotlight on a label that I'm sure you will be very familiar with. That label (As if you hadn't guessed by now!) is of course the US-based Wild Eye Releasing! Because I'm cheap and unimaginative, I will let the label introduce themselves!

“Wild Eye Releasing, a growing leader in independent cinema since 2008, represents horror, exploitation, dark arthouse, cult and documentary films from around the world. It is our mission to bring new and talented filmmakers and their work to as large an audience as possible, creating both traditional and digital opportunities for lower budgeted films made outside the studio system.”

I recently got in touch with Rob over at Wild Eye to see if I could get my hands on a few of their films and boy did I get quite a selection! Nine titles! I'm thankful to receive a Check-Disc, but to receive a bundle of releases is really overwhelming! Anyway, I sound like an arse kisser (which I am!) so let's get on with the show!

(2011, dir: Richard Griffin)
“What is their secret?”
“A warped and mysterious family are unable to leave the house they reside in for unknown reasons. When this strange brood decide to turn their captivity into a sick and violent game, it challenges their very reality and puts all of their lives in great jeopardy. ”
We're (the Royal We...) kicking off this mega-post with the oldest film of the bunch (all titles ordered according to IMDb release dates.); Exhumed. I have to say that this was an unusual film indeed and actually quite unique. The story follows a group of people (referring to themselves as a family even though only a few are actually related) who live together in isolation in a boarding with very little contact with the outside world. At the head of the “family” we have the Governess (Debbie Rochon, Tromeo and Juliet), an off-kilter woman who rules with an iron fist. Her second in command is the Butler (Michael Thurber, Killer Rack), a man who is just as strange, but slightly more reasonable... slightly. Under their care are the seductive Rocki (Evalena Marie, Remains) and the childlike Laura (Sarah Nicklin, Nun of That). They all live a dysfunctional, but somewhat comfortable life. That is until high school student Chris (Michael Reed, Normal) rents one of the spare rooms and falls for Laura. Unimpressed with pesky teenage shenanigans that follow, the Governess becomes even more unhinged and things escalate very quickly indeed.

The first thing I can say about Exhumed is that it is shot really nicely in black and white by Ken Willinger (A Life Among Whales). The mood for the film is instantly set by the often static and brooding shots throughout. In terms of story, like I said is somewhat unique and plays out well with aspects that aren't completely clear on the first viewing. I genuinely appreciate writers and directors who either leave some questions unanswered or leave subtle hints throughout. If you have the patience for a slow-burning story, then this could be a film for you. That being said, Guy Benoit's (The Last Halloween) script does have the tendency to drag in places and there are moments that do seem a little pointless. Another aspect that did tend to grate was some of the dialogue and interactions between certain characters. Speaking of which, performances are solid for the most part, but I did find Rochon's portrayal as the Governess a bit too campy, almost in the same vein as the worst of the Nazisploitation films of yesteryear. Nicklin's performance does tend to grate too. All in all, this is a quirky little number with its merits. Sold as a film in the tradition of Hammer, I found this more to have a noir feel to it, albeit with some horror elements.

Extras come in the form of two commentary tracks, a behind the scenes featurette and a selection of trailers. It's clear from the additional material that everyone had a fun time filming and that's what it's all about right? You can't choose your family right? Should I move on to the next film now?

(2012, dir: Richard Griffin)
“Your education will cost an arm and a leg.”

“A small New England college is plagued by a series of brutal, cult-like murders that share a similar pattern of killings some twenty years earlier. The lone survivor of a recent attack must team up with a veteran police detective and his daughter in order to uncover the secret behind the killings, revealing a legacy of murder and the occult that has been kept buried for decades on campus.”
For the second film on this label spotlight Griffin takes on what is for me a genre I have been burnt on way too many times in the past; the slasher film. I won't lie, I used stay away from slasher films as much as I could. That being said, I have found recent appreciation for classics like SOME of the entries in the Halloween and Friday the 13^th franchises as well as films like Madman and Christmas Evil thanks in part to documentaries such as Going to Pieces: The Rise and Fall of the Slasher Film and the slasher output from Vinegar Syndrome. From looking at Wild Eye's back catalog, low-budget slashers are available by the bucketload. As you can tell by the synopsis for this one, it's a fairly straightforward story with a somewhat Satanic twist. There are a few clichés here and there, but being a fan of all things cult, I really enjoyed the occult aspects of this on. Yeah OK, we don't get girls being sacrificed in flimsy white gowns, but there is plenty of boobs and blood throughout!

What let this film down for me for was the story and the attempts at humour. That being said, I did appreciate Michael Thurber's performance as the somewhat jaded cop. He's down and out cop with his past connected to the current events and his dry and dark humour is enjoyable. That being said, there are events that happen later on in the film in which he reacts in such an unnatural way. Our protagonist Josh (Jamie Dufault, Accidental Incest) is likeable and all, but can be a tad annoying at times. Don't get me wrong, Lenny Schwartz's (Scary Little Fuckers) script isn't horrific, but I was just not engaged in the characters or story. There is however, a nice twist towards the end of the film that works quite well. If like me you are tired of low-budget slasher flicks, you may want to give this a miss for now, but it's still definitely worth a watch. For the more sympathetic slasher fan however, there is a lot there. Just like Exhumed, this is a very credible low-budget film, but there are some moments and aspects that do work against it. Oh well, like I said, there's some really nice gore and boobage throughout so it's not all doom and gloom!

In terms of extras there are a couple of commentary tracks, a deleted scene and a trailer so it's definitely a worthy release for a film that cost around $6000!

(2013, dir: Benjamin Roberts & Jordan Reyes)
“A surreal take on the zombie genre.”

“In the near future, zombies have become a protected, endangered species, held in captivity and legally wandering the streets free from harm by the living. But for the loved ones of those who die, sometimes coping is just too much to handle, especially when not everyone feels the dead have a right to exist, and are willing to break the law to rid the world of this new population of the dead.”
Who does't love zombie films? Classics like Dawn of the Dead, Zombie Flesh Eaters and Shawn of the Dead appear on many lists and mean a lot to many horror fans. No matter what you think of our flesh craving buddies who may or may not run, the genre is here to stay. In fact, zombie culture is pretty mainstream with help from the rising popularity of the television adaptation of The Walking Dead and it's highly inferior spin-off; Fear the Walking Dead. You can go to your nearest supermarket and even pick yourself up a zombie themed t-shirt. Naturally, it's a great thing to see culture like this being exposed and gobbled up by the masses, but even within the much more independent and underground filmmaking circles, the genre itself has become horribly oversaturated. Most films have the same traits and follow the same formulas, but every now and then, a film will come along that promises to turn the genre on its caved in head and offer us a unique experience. A Plague So Pleasant, the micro-budget debut from Benjamin Roberts and Jordan Reyes promises to do just that. Can these budding amateur filmmakers pull it off?

Yes and no. The whole concept of zombies being accepted and protected by society is novel indeed, but it's not really explained brilliantly. It's believable, but when you take in to account zombie logic (Am I really using this as an argument!?), it kinda falls flat. In terms of tone, the film is somewhat humorous, but often falls in to the conventions we are so already used to. I think the whole unique take on the zombie film angle is somewhat overselling this one. I will give credit however to the style. There's some really nice black & white photography that does add some sense of atmosphere whilst being aesthetically pleasing at the same time. There are however, scenes that are shot in colour and I really enjoy how these scenes are utilised. For such a low-budget film, there's some genuine style. Even most of the zombie effects are pulled off really nicely. Unfortunately, I just did not care at all for characters and the story in general. I personally found this a tough watch in that regard. Is it a terrible film? No way. There have been much bigger-budgeted zombie films over the past few years that could not hold a candle to this one. It's clear there is talent behind the camera, but if a little more time and thought had been invested in character development and plot, this could have been a much more rewarding experience. Overall, the film has its moments, but is a bit too all over the place for my pretentious tastes!

Just like the film, the extras are a bit flat too with only a couple of teaser clips and trailers. That being said, if you're bored of the usual zombie garbage, this modestly budget amateur effort is worth sinking your teeth in to!

(2013, Manny Serrano)
“He's taking what he wants, Limb, By Limb!”

“Ten years ago, the sleepy suburb of Havenwood was plagued by a string of unsolved murders, by a masked maniac remembered only as The Ripper. Now a new series of killings has begun, and teenagers are turning up dead everywhere. But can The Ripper be stopped this time around?”
They say you can't judge a book by its cover. In this case, that is unfortunately true. Once again, the uninspired slasher genre rears its ugly head. I can say however, that this film wins the award for best artwork! Yep, I was suckered in straight away. Maybe the fact that the film also has a runtime of over 2 hours could have warned me beforehand. This is another classic example of something we have seen countless times before blandly retold and amateurishly shot. I know! I know! How dare I have anything negative to say about a low-budget film that is also a feature length debut for its director; Manny Serano (Zombie Hunters: City of the Dead). I'm not one of these keyboard critics who likes to bash on directors because of the quality of their films (except Marian Dora because fuck Marian Dora!), but there was really nothing too appealing or engaging about this one and the runtime felt a lot more than it actually was.

First of all, the story is quite convoluted and uninspired. A brute of a killer donned in a clown mask by the name of The Ripper is back after a 10 year hiatus and local police officers Fincher (Matt W. Cody, Life Passion Death) and Cobb (Byron M. Howard in his only role thus far.) are on the case. Guess what? Fincher is an alcoholic who is separated from his wife and child. You guessed it right folks, because of his history and antics, he gets thrown off the force, but that just eggs him on that much more. There's really not too much to tell without giving away the story because hey, I hate ruining the surprise and overall experience for people yet to watch the film. There are moments that drag on too long and moments that seem quite pointless. As is the case, the film is a “throwback” to the eighties and in all honesty, I think that works against the film. No, it's not just because I hate throwback films! There are also some sequences that look like there may have been problems with footage or problems in the editing suite. Plus points however are a cool looking and foreboding killer, some nice gore throughout and forgive me for going all Mr. Skin here but, everyone's favourite thing; pretty girls getting naked and brutalised (sometimes at the same time!). All in all, this was just not for me. Unfortunately, it seemed to combine a lot of aspects of what puts me off low-budget slasher movies, but there are elements that will appeal to a lot of slasher fans.

On the bright side, there is a commentary track, deleted & extended scenes, a featurrete, music video, trailers and a faux TV commercial. It's bitter sweet to see a film like this have so much effort invested in to the packaging and release, but for the right audience, this is a bargain!

(2014, dir: Jeremy Garner)
“Get the girl... Save the day.”

“A story of love, leather ... and brutal violence! When the Satan's Sinners, a vicious biker gang, attack a bride and groom on their wedding day, they get a fight they never imagined. Now, armed with some divine intervention and firepower, the murdered groom is out to save his wife any way he can before she is sacrificed to Satan... even if it means dying over and over again until the job is done.”
You know I said I hate throwback films? Well, this is one of those films. Instead of a slasher or zombie flick however, we have a good old fashioned piece of bikersploitation. Thanks to the likes of James Bickert (Dear God No!), the biker film from yesteryear has received a new audience. Does Jeremy Garner's (Melvin) effort rank up there? I have to say. That's such a shame because the concept is really quite original. Nick (Nick Forrest, Lucky's Treasure) and Bobby Sue (Sarah Kobel Marquette, Crowbar) are newly weds who fall foul to the infamous Satan's Sinners lead by the sadistic Sundown (The Kill Hole) and consisting of such wonderful chaps like Pedophile Pete (Tommy Hestmark, Proposition) and Knucklehead (Big Dave Levick in his only credited role). Leaving Nick for dead and abducting Bobby Sue to perform a ritual, a mysterious cowboy claiming to be God (Joseph Sullivan, The Children of Terra Firma) revives Nick and makes him immortal, kinda. With the help of a sleazy, big-tittied housewife loving priest (Leif Fuller, The Darkest Corner of Paradise), the pair set out to put an end to the madness and save Bobby Sue.

Like I said, it's a cool concept with some pretty damn cool characters. Unfortunately, aside from some sleaze and well executed gore, I really struggled to enjoy this one. This is one of those exploitation throwbacks that is clearly contemporary, but has film grading and damage added in postproduction. If they hadn't have gone for the throwback angle, I would have enjoyed it a lot more. The jokes also ruined the experience for me. There were some genuinely funny crude moments, but the rest of the humour didn't really work. Being a film that cost around $20,000 to produce, there are clear technical faults and some of the acting is pretty cheesy. If you're a complete apologist, you could say that it all adds to “that Grindhosue feel, yo!”. I tip my cowboy hat to those involved because it does have the feel of a bigger budgeted affair and it is cinematic and doesn't look like a student film. Another aspect I liked was the music utilising some down and dirty rock tracks as well as a great synth score from the very talented Chan Walrus (Hi-8: Horror Independent 8). Overall, a film that had style over substance and could have been something much more entertaining. If it helps, Ehren McGhehey (Jackass) also makes an appearance!

Included on the disc are a director's commentary, deleted scenes and a selection of trailers.

(2014, dir: Anthony M. Winson)
“Fear the Unknown.”

“Kate Beckley was once a best selling crime author, but it's been years since her last novel following the disappearance of her daughter, Julia. While attempting to write again in a new home, Kate finds herself haunted by strange visions and paranormal occurrences – which become worse each night. Has Julia returned, or is something more sinister preying on this grieving mother.”
Now it's time for some good old fashioned tea and crumpets horror from the UK with Anthony M. Winson's (The Witching Hour) House of Afflictions. It's the simple tale of Kate (Michelle Darkin Price, Crossing Paths), a well-known crime author who hasn't written a book since the disappearance of her young daughter. With her marriage on shaky ground and the need to occupy her time, she decides that she wants to write again and rents the house of Dorothy (Penelope Butler in her only credited role), an elderly woman looking to make a bit of spare change whilst she's visiting family. It turns out that Dorothy's daughter also went missing when she was the same age as well as suffering the loss of her son. With strange coincidences aside, Kate continues to rent the house against the better judgement of her husband John (Stefan Boehm, Being Human). As the nights pass, Kate falls victim to what she feels as paranormal activity. The longer she stays, the worse the situation gets. Is it all in her mind? Her grief manifesting itself? Maybe there is something much more sinister a foot? No matter what, the book better be bloody worth it!

As I said, the film is a simple tale and reminds me of something you would see as part of the classic Tales of the Unexpected, Ghost Stories for Christmas or something similar from yesteryear (Why has there been no revival of television plays like that!?). You will have seen this story before, but it's done very well. Most big budget Hollywood films like this (I'm looking at you Insidious and The Conjuring!) would solely depend on loud and obnoxious jump scares and cheesy effects. Don't get me wrong, there are those moments like that here, but thankfully, there is actual tension, a real sense of foreboding and claustrophobia. There are some genuinely creepy moments and you do sympathise with Kate, her situation and mental state. What really works is the pacing of the film. This is a slow-burn for sure. Maybe one or two moments drag on a little bit, but it never takes away too much. The film is shot adequately with maybe one or two clumsy shots, but one aspect that did take me a little out of the film at points was the sound. There were some sequences that had too much background noise and throughout the film, sound levels drop and rise. The film felt at points like a really polished student film and the acting cements that feeling. That being said, this is a film that had clear budgetary constraints (a whopping £500 budget according to IMDb!) and what Winson and his crew have created is amazing. It's safe to say that with the right amount of resources available to him, Anthony M. Winson could have a very promising career indeed. Highly recommended!

Unfortunately, extras are pretty slim with an alternate ending (Thank god they made the decision to use the ending in the final cut!), deleted scenes and a selection of trailers. That being said, still worthy of having in your collection!

(2015, dir: Cary Hill)
“Death is the new attraction.”

“The Fright Land amusement park is on the verge of closing its doors forever. But the park's owner, Hyde, has one last plan to sell more tickets... murder. Hiring two backwoods maniacs to break into the park and hack and slash all his employees, Hyde thinks these killings will create a media sensation, but he has just unleashed a horror that no one can survive.”
It's time for another slasher! SPOILER ALERT! This one sucks too. In fact, this could be the worst film of the bunch. I'd go more in to the story, but the Wild Eye Releasing synopsis pretty much explains it all! What we have here is a group of teenagers trapped in the soon to be closed down theme park. I say theme park, it's more like a glorified swap meet. I say glorified swap meet, that's being really too generous. Anyway, they are being stalked and butchered one by one by a couple of brutish hillbillies and blah blah blah... Basically, the staff like to party and get down.

Boring doesn't come close to what I would describe this film as. Not even Doug Bradley (Hellraiser) when he was clearly re-dubbing his part looked interested or could at least save this shoddy slasher. The closest thing to a positive is that this film (cue the Mr. Skin angle again!) is jam packed with eye candy. Notable examples are Nicole Beattie (Colony 52), Wendy Wygant (Everyone Must Die!), but my personal favourite is the gorgeous and the curvy Kailey Marie Harris (in her only role unfortunately.). In terms of gratuitous and pointless nudity, she got this covered. She also looked pretty damn fine in her costume! Yep, I really have stooped to this level haven't I? Listen, the film promises to be a great homage to 80's slasher films. Don't waste your time with this one of that's what you're looking for. It's safe to say that I'm not really looking forward to the sequel next year...

On the disc, you get a commentary, trailers and bloopers.

(2015, dir: Brett Piper)
“She has awakened... and she's hungry!”
“A meteor crashes into a quiet lake in the remote countryside and awakens a centuries-old beast, who tears through a nearby town and its inhabitants, who must fight for their lives and stop this Queen Crab before she can hatch an army of babies.”
When it comes to creature features, you either love them or flat out hate them. It seems that every month we are getting low-budget, z-grade and often self-referential offerings from production houses like The Asylum. Yes indeed, the label notorious for ripping (or riffing, depending how much of a sympathetic cinephile you are.) off whatever is popular at the time. Of course, in recent years, they have become infamous for their highly entertaining Sharknado series. I for one, really enjoy the films even though I have to say I am becoming increasingly bored with that whole “Oh my god! Let's make a film that is sooo bad it's good!” trend in filmmaking. One of the biggest criticisms of the Sharknado films (and pretty much 90% of the nature run amuck giant creature feature offerings) is the use of terrible CGI. I'm not going to get in to the whole debate. I think it's often necessary depending on the context. I can be very forgiving when CGI is used for an aspect that can't be pulled off with the budget or manpower at hand, but I seriously can't forgive CGI gore affects or worst of all; CGI blood! Anyway, Queen Crab is a completely different kettle of fish (does that count as a pun?) because first of all, this film didn't have anywhere near a budget as big as something from The Asylum (insert another bigger studio name here.) and instead of uninspired CGI, we have stop-motion and puppetry.

The crab and how it was pulled off is the star of the show with Queen Crab. Not only is it refreshing to see old-school affects in action, but it's actually executed rather well. Naturally, it's a bit cheesy here and there, but it works. Unfortunately, everything else about this film kinda falls flat. The story isn't anything special or unique, but it's a giant crab movie for crying out loud, so that can be easily forgiven. If you look at the filmography of Brett Piper, it's clear this is a man who knows how to pen and direct a profitable exploitation feature. The cast is made up of newcomers and some familiar faces to those familiar with Piper's work. Unfortunately, the acting isn't anything special even by b-movie standards and some of the dialogue just doesn't work and sometimes drags the film even more than it does already. That being said, it's nothing horrendous and I have tolerated worse. It's good to see a director like Piper giving work to newcomers and old friends a like. My biggest gripe with the film has to be the sound design. There are times where the sound levels drop and become muffled and there are scenes where too much diagetic sound can be heard as well the odd sequence with some audio fuzz. Thankfully, it's not all bad in the sound department as there is an effective original score from Jon Greathouse (Deadly Species) that does add to both tension and action. Overall, there is much worse out there and for the budget (around $75,000 according to IMDb.), I think they pulled off something that not only rivals some of the bigger studio offerings, but also shows you how effective practical effects can be for films of this nature. With some tweaks, this could have been a much more entertaining experience.

In terms of extra features, Wild Eye have done a good job and there's a lot to digest. When you watch the interviews, you can definitely tell it was a fun experience for all involved, which can't be too bad right? Definitely give this a try if you want something a little refreshing from the genre.

(2015, dir: Brian Dorton, Joseph Graham, Manuel Marin, Lee Matthews, Douglas Conner & Ignacio Martin Lerma)
“Side Effects May Include: Screaming, Fear and Death!”

“Serial killers, ghostly phone calls, inner demons, otherworld monsters and creepy stalkers collide in this frightening anthology.”
From a refreshing take on a stale genre to one of my favourite horror genres; the anthology film. The thing I love about anthology films is the variety you get. Sure, there are classics like George Romero's Creepshow and Brian Peck's (friends with Victor Salva perhaps?) The Willies that are comprised of shorts directed by the same director, but concepts like V/H/S and The ABC's of Death series really allow a wide range of different directors to come together and showcase their work. Sure, the first ABC's was a scam with already notable directors getting the spotlight over fresh talent, but it was still an intriguing concept. Naturally, The Horror Network is scaled down significantly with only 5 shorts. I'm not going to go in to each short because I have taken up enough of your time already, but what I will say is that it is hands down the best film on the list and one of the better anthology films I have been lucky to watch in recent years. What I love about it is just how diverse the films are in terms of plot and style. From the simple opening short 3:00am to the wonderfully bizarre and disturbing Spanish language Merry Little Christmas and ending with the sleazy and blasphemous The Deviant One, there is not a dull moment. There are films that are more psychological and there are films that are much more in your face.

My favourite of the bunch is Merry Little Christmas. The film stands out not only because of the story and themes, but because of the style and imagery. To keep the spoilers to a minimum, what I will say is that the wonderfully grotesque image you see on the DVD cover comes from this short. It's also refreshing to see British talent being put in the spotlight with two separate films. I was genuinely surprised by this one. I was sort of expecting a low quality selection of crude or throwback shorts, but there's some really thought-provoking and intelligent concepts throughout. What more can I really say? This is a wonderful film that has plenty of memorable moments. It's a film you can return to time and time again and it's also a film that has me interested in checking out other films from all involved. I am definitely keeping an eye out for volume 2. What a fantastic end to what was an interesting selection of releases indeed.

Unfortunately, extras are pretty light with this one. All we have is extended footage and a selection of trailers. I would have loved to have heard a commentary track. Oh well, still worthy of being added to your collection!

Overall, I have to seriously applaud Wild Eye Releasing. Sure, a lot of the films may not have been anything too special, but considering the vastness of their back catalog, it's clear that there are some diamonds in the rough. I think the most important thing people should take in to account is the fact that a label like this is a great platform and potential career starter for new and undiscovered talent. What struck me most about the selection I received was the fact that directors outside of the US now have a platform that (from what I have researched so far!) they don't have back at home. It's great to see British talent being showcased to an international market when their work isn't being released back in the UK. I didn't know what to expect and again, I enjoyed only a few of the films sent to me, but damn, Wild Eye are doing a fantastic job and I can see why my peers at Weng's Chop and the various festivals love the label. So next time you are complaining about the shit that Hollywood churns out and the next time you whine about your favourite horror films being remade and there's no originality or talent anymore, have a look round what's going on with labels like Wild Eye. I used to a dick when it came to indie horror, but I am ever so slowly having my faith restored in the indie and underground scenes.

All films are available on DVD and VOD directly through Wild Eye Releasing as well as online retailers.

PDx

Arrow Films Review: Day of Anger (1967, Tonino Valerii)

2016-04-06T05:58:00.000-07:00

Original title “I giorni dell'ira”

“Lee Van Cleef has been dirty, "ugly" and downright mean... now watch him get violent.”

Poor Scott Mary (Giuliano Gemma, The Leopard) just can't seem to catch a break. If he's not carrying out back breaking and menial work, he's constantly being treated appallingly by the townsfolk. Well, except for a local prostitute named Gwen (Christa Linder, Alien Terror). Things begin to change for the better when a mysterious stranger by the name of Frank Talby (Lee Van Cleef, The Good, The Bad, The Ugly) passes through the town on his horse. After hearing about Scott's mistreatment, Frank takes pity on him and invites him to the local saloon for a drink. Whilst ordering drinks, Frank witnesses first hand just how abhorrent the townsfolk really are towards Scott and in a moment of self defence, guns down a local thug. Naturally, Frank is pardoned on the basis of self defence and Scott feels the repercussions of the event. With nowhere else to turn, Scott pursues Frank and as a result Frank decides to take him under his wing and teaches him the way of the gunslinger. What starts out as an invaluable education in both skill and self-confidence soon turns to be a detriment to Scott's already soured reputation. Things become even more complicated when it turns out that Frank was more than just a mysterious stranger passing through...

Day of Anger is a standout entry in to what is an overly-saturated genre. There are many reasons why it is so highly regarded as it is with cult cinema fans. One of the main reasons is down to a solidly written script from Valerni himself and Ernesto Gastaldi (My Name is Nobody) based on an initial idea by a young Renzo Genta (Jungle Holocaust). Although credited as an adaptation of Rolf Becker's Der tod Ritt Dienstags (Death Rode on Tuesdays), the film only uses a handful of scenes from the book, it was at the request of the German producers that the book be credited. Although the story is simple and somewhat familiar, it's handled well and contributes to a film that flows smoothly even with a runtime of around 114 minutes in its original theatrical form. Within that script are solidly forged and believable characters. Again, theses characters are familiar, but you don't care. Van Cleef's portrayal of Talby is not too dissimilar to Eastwood's portrayal of “The man with no name”. He's a mysterious rogue that stands up with the greatest of anti-heroes. To compliment him, we have the down on his luck-cum-confident hero character of Gemma's Scott Mary. The relationship of mentor and student plays out nicely and is again, believable. Both Gemma and Van Cleef handle the material nicely and put in great performances. Even minor characters such as the corrupt Judge Cutcher (Lukas Ammann, Mark of the Devil Part 2) and local bum Blind Bill (José Calvo, A Fistful of Dollars) are well acted. Everyone puts in a good performance.

When it comes to violence, the film has some good shoot-outs and set pieces. It's not the most graphic of the genre, but it doesn't matter because the film is more of a character study. The scenes involving shoot-outs and blood work well within the context of the complete film. Naturally, these scenes, as well the film as a whole are shot beautifully. Director of photography for this outing is Enzo Serafin (Chronicle of a Love) with Silvio Fraschetti (Star Odyssey) operating the camera. This collaboration captures the action and the beautiful natural landscape of Almeria wonderfully. To compliment the beautiful aesthetics, there is the score from the ever-dependable Riz Ortolani (Cannibal Holocaust). Once again, Ortolani provides one of his best scores. For me, this in fact one of the genres best scores. It has those typical western guitar vibes, but has a somewhat jazzy edge. It's one of those scores you can listen to on its own. Those who may have not seen the actual film or heard the score itself may recognise Tarantino's use of the film's title track in Django: Unchained. All in all, Day of Anger is one of the best entries in to the genre. Thankfully, Arrow Films have done a great job with their release.

First of all, there are two versions of the film included; the longer Italian theatrical version and the shorter international version. Out of the two, I prefer the longer cut. Both versions look and sound wonderful and the Italian version can be watched in either the English or Italian soundtrack. The subtitle track is also newly-translated. In terms of extras there are interviews with Tonino Valerii, Ernesto Gastaldi and the always insightful Roberto Curti (Italian Gothic Horror Films, 1957-1969). There's a deleted scene that appears in the international cut, bit the Italian cut, a selection of trailers and a booklet with new writings from Howard Hughes (Once Upon A Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns). Of course, there's also some newly commissioned artwork, this time from Reinhard Kleist and reversible artwork. It's a great package for new and old fans a like. I can't see a better release of this film any time soon. The only thing I will say is that even though the previous Wild East release presented the film in the wrong format with an inferior transfer, there are some extras that are on that disc that would have been nice here, but that's not a detriment to Arrow themselves. Do yourself a favour and pick up this wonderful release.

Day of Anger is available as a DVD & Blu-Ray combo from Arrow Films.PDx

Arrow Films Review: Nightmare City (1980, Umberto Lenzi)

2016-03-29T12:18:00.000-07:00

Original title “Incubo sulla città contaminata”

“The Nightmare Becomes Reality.”
Whilst waiting at an airport to interview a scientist about a recent nuclear accident, American reporter Dean Miller (Hugo Stiglitz, 357 magnum) witnesses a military plane making an illegal landing. With police and armed forces on the scene, Dean knows himself and his trusty cameraman (Antonio Mayans, Zombie Lake) are going to potentially get some juicy material. Juicy material it definitely is, bloody too. Very bloody! Inside the plane are dozens of disfigured victims of the nuclear accident. These passengers aren't just casualties of an unfortunate event, they're also blood-thirsty maniacs and almost instantly wipe out the entire military personnel. As if butchering and battering their victims in brutal fashion wasn't enough, they also like to slurp on their blood to keep themselves going. Dean manages to escape and heads back to the studio to show the world what's happening. Unfortunately for him, the suits at work won't allow it because General Murchison (Mel Ferrer, The Longest Day) over at Civil Defence doesn't want the word out. Naturally, the infected are running amuck around the city and after they invade the television studio, Dean escapes once again and heads on over to the hospital where his wife Anna (Laura Trotter, Frivolous Lola) works. As he arrives, the hospital also falls under attack, but luckily, himself and Anna escape. What follows for the pair is a fight for survival. As if you didn't know that already....

It's actually pretty pointless giving you a synopsis of this movie because I bet you have already seen it, probably multiple times. We all know that Nightmare City is a ridiculous film, but just in case you're one of the few people yet to experience this truly cinematic wonder, I won't go in to too much detail about some of the stand out moments and shortcomings. When I say shortcomings, I mean that in the greatest possible sense. In an (amazingly dark) age where yuppy hipster directors who are borrowing a nostalgia they didn't live and are creating purposefully bad low-budget films, this is a perfect film for the Kung Fury and Birdemic (I think / hope we're collectively over The Room by now.) crowd. The story is simple, but functions in the basic sense. At its heart, it's an anti-war and nuclear film. Does it actually work in that sense? No, not really. Aside from some rather forced sounding pacifist dire tribe, the action and absurdity on screen takes precedent. You're not here for intellectual content, you're here for bad acting, non-stop action and some tasty blood and guts. There's something happening pretty much all of the time. From Hugo Stiglitz giving us an acting masterclass on how to use the same facial expression for every emotion and situation to defaced super-strengthed ghouls slicing off nipples and following dinner table etiquette by wiping their mouths after slurping down a serving of blood. Speaking of bloodshed, there's gore by the bucket loads. Sure, the camera may occasionally linger a bit too long to expose the crudeness of certain gore gags, but it's just going to make you chuckle even more.

As I briefly touched on it earlier, acting isn't anything to shout about, especially the mighty Hugo Stiglitz. That being said, the likes of Mel Ferrer, Francisco Rabal (Speed Driver) as well as eye candy such as Maria Rosaria Omaggio (The Cop in Blue Jeans) and Sonia Viviani (Women's Camp 119) all add something to the film. Even though this is a wonderfully absurd film, one thing is for certain; Stelvio Cipriani's (A Bay of Blood) score is a genuinely accomplished and effective piece of work and actually one of Cipriani's greatest. Overall, this is another winner from Umberto Lenzi. Say what you will about him in terms of his personally and his artistic vision and capabilities, he knew how to create an entertaining film. What more can I say? I am fan of this film for the right and wrong reasons. At this point, you've probably skimmed over the review looking for the most important information; is this Arrow Films release better or worse than the Raro Video release?

Guess what? You're pretty much getting both transfers on this release. Out of the two, Arrow's new 2k restoration looks much sharper and vibrant, but suffers from irreversible print damage. The second transfer, the one Raro used for their release, is taken from a 35mm reversal dupe negative and although the print damage isn't there, it's a much softer transfer. Sound is of high quality on both versions and. Those who are privy to pointlessly complain about Arrow releases need not bother because you are warned about the damage before you even decide which version to watch. Arrow could have just lazily used the same Raro print or just use their own, but the fact you get to choose from the two is very commendable. In terms of on-disc extras there's an entertaining commentary track from former Fangoria editor Chris Alexander, interviews with Umberto Lenzi and Maria Rosaria Ommagio, Eli Roth (Hostel) unashamedly fanboying about the film and Umberto Lenzi, original theatrical trailer, alternate opening titles and a featurette about the restoration issues. Unfortunately, the lengthy interview with Lenzi that appeared on the Raro disc is nowhere to be seen, but the long list of extras here more than make up for it. As always there's wonderful newly commissioned artwork, this time from Graham Humphreys and a booklet featuring writing from John Martin (The Seduction of the Gullible: The Truth Behind the Video Nasty Scandal). The Raro booklet has a piece by Chris Alexander that doesn't appear here. All in all, the Arrow release is arguably the most definitive out there. It may be missing one or two extras, but wether this is the first time you're buying the film or the 3746328468^th time; this is a release you need to own.

Nightmare City is available as a DVD & Blu-Ray combo pack from Arrow Films.

PDx

Vinegar Syndrome Peekarama Review: Robin's Nest (1980) / Bella (1979)

2016-03-22T01:10:00.000-07:00

“There's high flying Action when the pretty little birds flock together...”

Newlyweds Alan (Eric Edwards, Laura's Toys) and Robin (Arcadia Lake, Debbie Does Dallas) spend their first day as a married couple by moving in to their new apartment. Naturally, that evening they christen said apartment like most couples would do and damn do they start married life with a bang! The perfect start to what will be a truly future? Maybe not, because fast forward six months later and the couple's bickering has lead to the pair undergoing a trial separation and Robin to move out. She decides to stay with her high society nympho of a friend; Glenna (Robin Byrd, Pleasure Palace). The pair then do some “catching up”. With her mind somewhat at ease, Robin's healing process is off to a great start! Alan on the other hand is a bumbling, scruffy mess. Thankfully, he gets cheered up by his own nympho of a friend; Larry (Paul Thomas, The Price of Desire) after a chance encounter in the local drinking hole. Unlike Glenna however, Larry is a bit of a creep who in his spare time likes to stalk a cheating housewife known as Mrs. G (Marcia Mager, Sweet Wet Lips). After a few drinks, Larry invites Alan back to his wife Lorraine's (Samantha Fox, Babylon Pink) funded swanky abode. How does he cheer up Alan? By letting him have some “consoling” of his own with Lorraine's young plaything; Honey (Crystal Day, Secrets of a Willing Wife). If things weren't complicated and ugly enough (well, depends on how you look at it.) for both Alan and Robin, the fact that Lorraine is “good friends” with Glenna may just make the situation uglier than it already is!

In a nutshell, Robin's Nest is a simple piece of melodrama with a touch of comedy thrown in for good measure. Stylistically, the film reminded me of a late 1960's piece of sexploitation cinema. After looking at Victor Bertini's filmography, that was no surprise to me as this (his final film) was his first film since a trio of late 1960's sexploitation efforts (his only other directorial credits). Of course, instead of flirty thrills, we have unsimulated sex and even though the cinematography and set layouts are reminiscent of retro cheeseball sexploitation cinema, there is a contemporary (for the time) style and set decoration. It makes for a visually intriguing experience. Overall, the film has a sense of cheapness about it, but Bertini pulls off a somewhat accomplished piece of hardcore cinema. You'd think he'd been shooting X-Rated skin flicks for years! To compliment the action, there's a great selection of music throughout and although credited to an outfit called Goldenrod, it seems more likely that it's just a tactic to hide the (wonderfully handpicked) usage of library music. To match the style, there are great performances throughout from everyone involved. Although only appearing together in a handful of scenes, there's genuine chemistry between Arcadia Lake and Eric Edwards (something I will touch upon again at the end of the review!. It's not exactly the most entertaining film of its kind, but there are some great individual gags throughout and definitely worth watching more than once. On a completely different note, it reminded me of the 1985 shot on video outing; The Initiation of Cynthia, a film I have watched recently... What do you mean you don't care!?

“The most Classically Erotic film ever made...”With her husband Bob (Jake Teague, Cannibal Ferox) constantly away on business trips, it's no surprise that lonely housewife Susan (Diana Sloan, Dracula Exotica) would begin an affair with the local hunky handyman Tom (Eric Edwards). Unfortunately for her however, her young daughter Bella (Tracy Adams, Fascination) discovers her engaging in her dirty little hobby after returning home earlier than usual one day. Instead of confronting her mother and revealing the truth to her father upon his return, Bella is overcome by lust after witnessing Tom and his DIY skills. Thus, begins a sordid little love triangle. Bella's lust soon turns to love and obsession, but Tom is unwilling to commit. Bella's obsession combined with her jealousy leads her to take drastic measures, involving her friend and all-round unknowing participant; Patty (Arcadia Lake). With the stakes and tensions high, what happens will change everyone and everything forever. Will Bella do something she may regret or can she come to a compromise with her mother? One thing's for certain, this is probably the most hands-on work Tom has ever had to do in his life!

Much like the previous film, Bella is a melodrama with a simple concept. It may not be the most original of concepts, but it's far from the weakest attempt at the “mother and daughter fall for the same man” plot. Things are pretty straightforward and somewhat vanilla for most of the film, but the final third REALLY stands out. It may not be the most shocking, heart-wrenching or adrenaline filled final thirds, but it definitely leaves an impression. All in all, it's a solidly paced film with only a couple of sex scenes being a few minutes too long. In terms of pornography, there's no complaints at all. Aside from Diana Sloan, the film is well acted and the characters are believable. Although the delivery of her dialogue is wooden to say the least, it doesn't detract too much from the overall film. The star of the show for me is of course the lovely Tracy Adams who really does portray the obsessed naïve lover almost perfectly. That being said, even if her performance wasn't the greatest, you really wouldn't complain. It's a travesty that this was only the second of a handful of films she starred in because she could have made a REALLY big name for herself. In terms of style, the film almost has a feel of Joe Sarno (Abigail Leslie is Back in Town) to it; solid enough erotic, yet kitchen sink drama and genuinely cinematic. It's no surprise the film is shot so wonderfully as porn veteran Carter Stevens (Punk Rock) was behind the camera with complete artistic freedom. Shots are wonderfully and thoughtfully staged and there are some great handheld and dolly shots thrown in too for good measure! You'll be hard pressed to find a film of this nature and budget that looks as good. Overall, this film has a lot to offer and can warrant repeat viewings.

Wouldn't you know? Vinegar Syndrome have done yet another great job with the restoration and presentation of these films. Aside from maybe one or two incidences with clear signs of irreversible print damage, the films look and sound great, especially when it comes to the cinematography of Carter Stevens in Bella. Speaking of Carter Stevens, the main feature on this disc is a short interview with the man himself (why has no one made a feature length documentary about him!?). He talks about his experience and freedom on the film as well as talking about Blue Underground's very own Bill Lustig and his involvement with the film. It's a fantastic little interview and I hope there's going to be much more in the future. The only other special feature is a trailer for Bella. Overall, this is a solid double feature mainly to commemorate the real life relationship between Arcadia Lake and Eric Edwards. It doesn't just work on that level because both films have the same sort of vibes and compliment each other. If you want to see character driven porn, give this release a try! Just don't let your mother find out... Robin's Nest & Bella are available as a double feature DVD release as well as being streamable on Exploitation.tv

Arrow Films Review: 5 Dolls for an August Moon (1970, Mario Bava)

2016-03-07T02:57:00.000-08:00

“I'm not a man of thought. I'm a man of action.”

On a beautiful yet secluded island in an equally beautiful pop-art villa, George Stark (Teodoro Corrà, Body Puzzle) and his wife Jill (Edith Meloni, That Little Difference) are playing host to a group of their high-flying friends; Prof. Gerry Farrell (William Berger, Keoma) and his wife Trudy (Ira von Fürstenberg, The Fifth Cord). Jack Davidson (Howard Ross, The New York Ripper) and his wife Peggy (Helena Ronee, On Her Majesty's Secret Service). Nick Cherry (Maurice Poli, Rabid Dogs) and his wife Marie (Edwige Fenech, Strip Nude for Your Killer). Accompanying the well off houseguests are George's houseboy Charles (Mauro Bosco, Roy Colt and Winchester Jack) and the young and innocent Isabel (Ely Galleani, Lizard in a Woman's Skin), a girl in George's care whilst her parents are away. What starts off as a jolly get together soon becomes a tense and all-round torrid affair. Things begin to turn sour when all the husbands become involved in a bitter bidding war for the professor's sought after and revolutionary formula, the formula that drove him to take this little excursion in the first place. Of course, the professor's minor annoyance is nothing compared to fact that affairs of all types are being acted out on. To make matters infinitely worse however, starting with Charles, the houseguests are being picked off one by one. Tensions rise and paranoia kicks in. This is one swinging party that those who may or may not survive will never forget. There's me thinking LSD was a trip!

Taking influence from Agatha Christie's Ten Little Niggers (a story Bava would make the basis of his highly influential A Bay of Blood a year later.), we find a group coming together and finding themselves in a somewhat quirky whodunnit murder mystery. To some, Bava's Five Dolls for an August Moon is purely an exercise in style over substance. I can sympathise with that viewpoint, the final third of the film does get a little hectic in turns of story and pacing, but I actually think that Mario di Nardo's (Ricco the Mean Machine) story has enough there in terms of plot and narrative structure even if Bava did despise the story and do his own thing. Speaking of which, this IS for me Bava at his most stylish. A beautiful locale combined with stylish (so what if it's dated!?) décor and equally (if not more) beautiful women; there's a lot to digest. The film is lensed by Bava collaborator Antonio Rinaldi (Danger: Diabolik) and is somewhat subtle which allows the loud and vibrant design to take centre stage. There are however, some nicely incorporated handheld shots which work brilliantly with the rest of the film. The icing on the already splendid technicolour cake is Piero Umiliani's (Big Deal on Madonna Street) score. It's a mixture of the dreamlike, groovy and sinister. Not a note is out of place and it helps lift the film even more. Considering that Bava was working with a script he disliked, working with a limited budget and had a shooting schedule of just over two weeks, it's amazing what he has achieved here. It might not be a classic example of the gialli, but it still has some characteristics that we associate with the genre. There's stylishly executed kills, red herrings, a sense of tension and a good amount of twists. To me, it's more than just one of my favourite Bava films; it's one of my favourites of the genre.

In terms of presentation, Arrow have done a good job with the sound and picture. I don't have the previous Kino Lorber release to make comparisons, but it seems like it's a slight upgrade of an already good restoration. Aside from the odd scratch and pop, the film looks and sounds great. In terms of audio options, there's both the Italian and English dub, with the Italian dub being the superior. There's also an option to listen to an isolated score and effects track, a feature ported over from the Kino Lorber release. Speaking of which, Tim Lucas's commentary is also included. As well as that there's a trailer, English language opening titles and the fantastic Mario Bava: Maestro of the Macabre documentary. To go with the on disc extras there's newly commissioned art from Graham Humphreys complimented with the original poster artwork and a booklet including writings from Adrian Smith and Glenn Kenny. Overall, this is worthy release for a somewhat under-appreciated Bava outing. An essential release from Arrow for new and old fans a like. Plus, who doesn't want to see the beautiful Edwige Fenech shaking her thing?

5 Dolls for an August Moon is available as a DVD / Blu-Ray combo release from Arrow Films.

PDx

Vinegar Syndrome Review: Luther the Geek (1988, dir: Carlton Albright)

2016-03-02T07:56:00.001-08:00

“A movie with a fowl bite!”

When Luther (Carlton Williams in his only role) was a young boy, he witnessed a group of rowdy locals egging on the local Geek (Tom Brittingham also in his only role) to bite the head off a chicken. This combined with him getting his teeth accidentally knocked out by one of said locals in the ruckus leads young Luther to develop a taste for blood. Naturally, this turns him in to a bloodthirsty psycho and paves the way for a life of crime. After serving 20 years and thanks to prison board member Mrs. Butler (Karen Maurise, Dark Skies), a much older and balder Luther (Edward Terry, The Children) is set free. Armed with a set of homemade metal teeth, Luther carries on from where he left off and sets off to continue his reign of terror, one neck at a time! It's not just the chickens who need to watch out. On his rampage, Luther invades the farm of Hilary (Joan Roth, In Transit) and her daughter Beth (Stacy Haiduk, Superboy). Can Beth's hunky boyfriend Rob (Thomas Mils, Bean) and / or bumbling local trooper (Jerry Clarke, Tracks) stop Luther before it's too late? You better clucking well hope so!

I won't lie, I really found this to be quite a dull film. I know that this is a cult classic for some, but I just don't see what's so special about it. Let's get the positive out of the way; the gore. Both Mike Tristano (Evil Dead 2) and William Purcell (Invasion USA) do a fantastic job with some genuinely gruesome special effects. Unfortunately, that's really the only positive I can give for this film. OK, maybe some of the scenes including the busty Stacy Haiduk “elevated” things slightly, but boobs and blood don't always make a film. Some may be surprised by this, but Luther himself isn't really a memorable character. I mean no disrespect to Edward Terry, but his portrayal of Luther is unintentionally comical and rather camp in places. I know his constant clucking and wide eyes are supposed to inject fear in to the audience, but he seriously makes the quacking killer in The New York Ripper seem like one of horror's true greats. The only unsettling thing about Luther is that he looks like me if I was the balding offspring of Klaus Kinski. Now THAT is truly a terrifying thought! As for the rest of the film? Average in every way. The acting is pretty lame, David Knox's (Captain America: The First Avenger) cinematography is about average and the score from Vern Carlson (Vigilante) is one of those unmemorable late 80's / early 90's synth scores that just exists. Yeah, really finding it hard to even really write about this film because I don't know if I told you this, but it was just so dull! Even though the film may be nothing to shout about, the release itself is!

You got it folks! This is Vinegar Syndrome once again taking a Troma property and giving it a must own release for fans of the film. The film is scanned and restored in 2k from the original 35mm camera negative and looks and sounds great. To top off another great restoration job there are a whole bunch of extras. All of the extras from previous Troma releases are included as well as an introduction and commentary from Carlton Albright himself, there's a video interview with Jerry Clarke, reversible artwork and the original theatrical trailer. It's a bumper package and even though I am really not a fan of the film itself, listening to Albright talk about the film and those involved is insightful and entertaining. It's one of those instances were the extras are actually much more entertaining than the actual film! If you are already a fan of this film, there's no reason why you shouldn't pick this up. For those wanting to experience Luther the Geek for the first time, this is also a release you should check out, just be warned about the actual film.

Luther the Geek is available as a DVD / Blu-Ray combo from Vinegar Syndrome.

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Vinegar Syndrome Review: Too Naughty To Say No (1984, dir: Suze Randall & Victor Nye)

2016-02-23T09:09:00.000-08:00

“Nasty Enough To Say Yes!”

Betty (Angel, For Your Thighs Only) is your typical innocent Catholic schoolgirl. One day after studying her bible under the supervision of Sister Rose (Lisa De Leeuw, Pink Champagne) with her party loving friend Catherine (Ginger Lynne, Lust in the Fast Lane), she doses off (religion does that to you.) and finds herself in a world filled with lust, debauchery and some very questionable individuals indeed. Her adventures begin with her watching Catherine get down and dirty with an older guy (Jamie Gillis, Corruption) who thankfully has better taste in women than he does clothes! After the free show, Catherine promises her much more and instantly delivers by sending her to a brothel ran by Madame Rose (De Leeuw again). She's treated once again to a free show, but finds herself the subject of a bidding war between Senator Bribe (Eric Edwards, Laura's Toys), Nazi-like Colonel Vice (Klaus Müller in his only role), Hollywood director Stephen Swinestein (Edward Longly also in his only role) and Bishop John (Milton Ingley, Fantasyworld). Freaked out, she escapes, but things only get weirder! From crooked cops (Paul Barresi, Co-Ed Fever & Rick Cassidy, Widow Blue!) to perverted undertakers (Harry Reems, Deep Throat), Betty's journey through dreamworld is as sordid as it is erotic. Oh well, she'll have some juicy material to share at her next confession!

Too Naughty To Say No is a naughty little film indeed. Based off characters from de Sade, taking influence from Alice in Wonderland and almost structured like Juliette et Justine, both Randall and Nye have produced a trip of an adult feature. It's not as explicit or as mean spirited as de Sade's work or as outright trippy as Alice in Wonderland, but there are some strange goings on, but the action is still sexy. That's no surprise as Randall herself directed the sex. Some scenes drag on a tiny bit, but they are wonderfully staged and shot. Plus, when you have the likes of Ginger Lynne getting down and dirty, it's OK by me! The dialogue oriented scenes are fun and well acted. Angel's portrayal of the virginal Betty slowly getting corrupted is fun to watch and hey, she's cute as a button. To compliment Angel and Ginger (the latter should have had much more screen time!), there is a very solid supporting cast. It may not be the most memorable performances from Gillis, Edwards or Reems, but they do more than get the job done in their small roles. This is one of hose films that is really quite simple, but very enjoyable. For me personally, films like this from around the mid-1980's often seem to lack charm, but there's really no complaints here aside from some of the sex scenes being a few strokes too long. All in all, this is one of the more interesting films adapted from or influenced by the writings of de Sade.

In terms of presentation, Vinegar Syndrome deliver the goods (as if they wouldn't) once again. Not only is the film restored beautifully in 2k from 35mm source materials, but it's presented in the correct aspect ratio, a much more superior print than the previous Caballero release. The colours are vibrant and the image is sharp. The only extra is a Joe Rubin moderated audio commentary with Suze Randall, Victor Nye, Amber (of Suze Randall Productions) and Christian McLaughlin. It may be the only extra, but it's a welcome one that is informative as it is entertaining. There is a lot to be gained. Of course, a trailer would have been nice, but I am not aware if one exists, so I won't hold it against Vinegar Syndrome! All in all, this is another solid release of a film that could have been forgotten. Definitely worth picking up!

No... I won't clumsily use the title as a pun to end this review!

Too Naughty To Say No is available on DVD from Vinegar Syndrome.

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Vinegar Syndrome Review: Corruption (1983, dir: Roger Watkins)

2016-02-16T12:54:00.000-08:00

“One man's fantasy is another man's reality!”

Finding himself with a debt that he just can't pay off, Williams (Jamie Gillis, Dracula Sucks) is tasked by shady mafia-like Franklin (Michael Gaunt, Maraschino Cherry) with something of a retrieval mission to a mysterious warehouse containing three coloured rooms; a blue, a red and a black one, each housing a beautiful woman. Williams sends his associate Alan (George Payne, The Taming of Rebecca) to carry out the task on his behalf, but with balls of steel, Alan has taken the item for himself and has disappeared. This leads Williams to pursue him down a gaping glory... I mean rabbit hole. Frustrated and desperate, Williams visits a seedy, desolate nightclub to meet his even seedier half-brother Larry (Bobby Astyr, Punk Rock) for help. Larry offers his help as well as a spot of voyeurism, leading Williams to witness Alan indulging in a spot of necrophilia. Rightfully disgusted, Williams confronts Alan, a man now consumed by his own desires. As this is going on, Felicia (Kelly Nichols, The Toolbox Murders) the young sister of Doreen (Tiffany Clark, Oui, Girls), the girlfriend of Williams is kidnapped and raped by Franklin. With his descent in to madness consuming him, Williams seeks “comfort” literally in his mistress Erda (Vanessa Del Rio, Dominatrix Without Mercy). It will take more than just some sexual healing to get him through what will is already an unforgettable night. God help him when he discovers the true cost of selling his soul.

Forgive me for my somewhat truncated synopsis, but I don't think I can truly give a detailed retelling of the film I am reviewing. Not only that, if you haven't watched this gem yet, go in as blind as you possibly can! My peers had praised this film and although I tend to overhype films for myself, I have to say that this one not only met my expectations, but completely blew them out of the water! In a nutshell, Corruption is a nightmarish dive-bomb down a psychosexual rabbit hole. What strikes you straight away is the genuine sense of foreboding right from the off. I have never watched a film of this nature that has had such a genuinely sinister atmosphere. If it isn't the desolate and gloomy locations, it's the juxtaposition found when bursts of vibrant neon colour consume the scenery. You are constantly unnerved and it reminds me of Argento's masterful use of light and colour in his nightmarish masterpiece; Suspiria. I know you're probably sighing at me for making that comparison, but it's true goddamnit! Much like Suspiria, no one is who they really say they are, but instead of witches, we have sexual deviants and scumbags. Everyone has their secrets, motives and will go to great lengths to get what they want. Although Gillis is our protagonist, this is by no means a one man show. Those he comes in to contact with are just as important to the experience. With a cast consisting of the likes of Astyr, Payne, Nichols and Gaunt, it should come as no surprise. Even the small roles from Samantha Fox (Fascination), Tanya Lawson (Fleshdance) and Tiffany Clark are memorable in their own way. It's a great showcase of genuine acting talent.

The action may not be titillating (except the first scene between Gillis and Clark, there's something about the way she handles herself and Gillis), but it is well executed and performed. There are many perversions on show for all tastes and some of the dialogue is genuinely fantastic. Those who like to see women show dominance will also enjoy Payne's first trio of scenes. You may not be getting off on most of the sex, but the overall style will more than make up for the that. Larry Revene's (Barbara Broadcast) cinematography combined with Watkins' direction make for such a treat. Some could say style over substance, but I think Watkins has scribed a somewhat ambiguous story that instead of confusing the audience, makes them think, question and analyse. From what I can gather, Watkins has taken inspiration from Richard Wagner's Das Rheingold. You are blown away by the style, engrossed by the characters and ultimately longing to revisit to see what you may have missed. Who said porn can't confound and make you think? I'm sounding quite pretentious aren't I? Listen, if you like the weird and bizarre, this is a film for you! Think of David Cronenberg and David Lynch teaming up to make a porno!

If you haven't guessed, I really enjoyed the look of this film and Vinegar Syndrome have done Roger Watkins and Larry Revene proud. The colours really pop, the image is sharp and there's just enough grain in the gloomier scenes. The sound is of equally high quality. James Flamberg's (now a big name in Hollywood) haunting synth score (which is EXTREMELY reminiscent of John Carpenter's / Ennio Moricone's collaboration on The Thing) really stands out. To go with the great presentation, the extras are top drawer too. There's the original theatrical trailer, reversible artwork, a press-book gallery, an interview with Larry Revene talking about the film and working with Roger Watkins and to top it off, there's also (on the first 2,000 pressings) a restored version of the Watkins classic; Last House on Dead End Street to be found as an easter eggs. Yes indeed. It's not a cleaned up version of the film. It's scratchy and muddy (you could argue this is THE way to watch it), but what a spectacular extra! The search for that reasonably priced Barrel Entertainment DVD on eBay can come to an end! If you aren't lucky enough to get a copy with the easter egg or you are one of these people who needs every film from yesteryear to be restored on Blu-Ray, don't worry because LHODES is getting its own release very soon! As you can see, this is a must own release for fans and newcomers a like. For me, this was one of the best releases of 2015, a great year for Vinegar Syndrome and of course; cult film fans. Will you take a trip down this seedy little rabbit hole?

Corruption is available as a DVD / Blu-Ray combo from Vinegar Syndrome as well as being available to stream on Exploitation.tv

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Vinegar Syndrome Review: Avon Triple Feature: Savage Sadists / Den of Dominance / Daughters of Discipline

2016-01-31T12:51:00.000-08:00

“A young innocent learns the ropes!”

A pair of armed thugs (David Christopher, TAKE OFF & Dan Stevens, PRIVATE SCHOOLGIRLS) are on the hunt for a pornographer (Martin Patton, THE STORY OF PRUNELLA) who owes their boss some money. They pay his wife (Nicole Bernard, CORRUPTION) a visit and at gun point, have some fun because who said you can't mix business with pleasure? After they have given the wife their message, she decides to visit her husband's office to warn him, but walks in on him having some fun of his own with one of his performers (Ginger Roberts, DEN OF DOMINACE; her only other role). Before she do anything about it, they are rudely interrupted by the thugs and the husband, who is clearly an honourable chap, hides under the desk essentially allowing his wife, mistress and his innocent secretary (Bibi, DEN OF DOMINANCE also being her only other role) to be held hostage and subject to sadistic acts of debauchery.

“Bibi – Plaything in a prison of lust!”Looking for a good, quiet place to sink a beer, an unsuspecting man (Martin Patton) finds himself in a bar that instead of serving HARD liquor, offers something much more satisfying than a STIFF drink! As my clumsy (and childish) attempt at wit (kinda, but not really) suggests; this is a sex bar! Not just any old swingers drinking hole, but a hardcore BDSM paradise. After giving his credit card to the friendly Stag Magazine T-shirt wearing barkeeper (David Christopher), it's not long before he's on the receiving end of a Mimi (playing herself) cocktail! After a little taste of what's on offer, he decides to pay a visit to the club's “bizarre room” in which himself and the other patrons (Nicole Bernard & Greg Lyle in his only role) decide to watch a nice sadistic stage show from Ginger Roberts and Dan Stevens. This then inspires the happy customers to put on their own little kinky performances. Let's just hope our unsuspecting newcomer gets his money's worth because I can imagine that's quite a tab he's running up!

After discovering their mum and dad's secret porn mag stash, Glenda (Victoria Sands, CONSENTING ADULTS) and her sister Rhoda (Robin Thorn, PAIN MANIA) get inspired and decide to indulge in a little sisterly affection. After that and being inspired once again by the magazines and their mother's whip, they decide to call up their pal John (David Christopher) and invite him over for a play date. Their little kink session gets interrupted when their parents (Dave Ruby, DOUBLE YOUR PLEASURE & Victoria Sands CONSENTING ADULTS) return home earlier than expected! Understandably, they're a little bit miffed and decide to teach their daughters some discipline in the only way they know how!

As you can see, story and plot aren't exactly major elements to this crusty trio of films. Luckily, the films are either just under or over the 40 minute mark so it's a problem. Aside from the likes of Dave Ruby and David Christopher, the cast appears to be comprised of amateurs or people just roped in with the promise of an easy lay and a few bucks. Therefore, acting isn't anything to shout about. If you're here for some hot action, you may be disappointed as the sex is about as hot as the cast. When I say that I mean it's not. Unless you are in to bondage or rough sex these films will have you about as moist as a piece of sandpaper. You may be thinking then that this is a selection of films that should be missed. Well, if you are like me and have a morbid curiosity for the shocking and nasty, this is a great example of the artistry of one of porn's dark horses; Phil Prince. Aside from Den of Dominance, you are in for a nasty little treat. There are acts and theme's throughout that some may struggle with, but those people are a bunch of pansies right? Juxtaposing the nastiness, there's humour to be found. Those looking for unintentional laughs will scoff at the dialogue, dirty talk and Dave Ruby's ridiculous sex noises. Those looking for off-kilter laughs wilt revel in aspects such as inexplicable uses of fart sound effects, fourth wall breaking and at one point someone literally making a doorbell sound off-screen. Of course, the whacky aspects of the humour come from a mixture of budgetary restraints and Prince's own warped humour. These films may be cheap, straight to the point and not for everyone's tastes or sensibilities, but I think my fellow trash lovers will enjoy this selection.

All films have been restored in 2k from 16mm elements and considering their age, condition and overall treatment, look and sound pretty damn good. Don't get me wrong, you aren't going to be blown away, but these are cheap quickies anyway so even if the elements were kept in the most pristine condition imaginable, we probably wouldn't have a beautiful looking finished product anyway. Of course, I can't confirm the filming conditions or the condition of the 16mm elements used, but it wouldn't be such a stretch that I'm somewhere being close to right. It wouldn't matter anyway because these films aren't really supposed to stand up to the likes of The Opening of Misty Beethoven or Sexworld so the scratches and sometimes muddy sound just add to the seediness. One thing is for certain; the films look and sound better than the god awful Alpha Blue Archives release and the still amicable After Hours Cinema releases. It's definitely an upgrade in that regard and I highly doubt these films could (or should) be presented any better. Although the release has no special features, I was still excited when I heard Vinegar Syndrome were releasing films from Phil Prince and I am very happy with the end result. Overall, this is a set that is worth the upgrade and also works as a great way to experience Phil Prince at the start (Savage Sadists) and end (Daughters of Discipline) of his short lived directorial career. Fingers crossed this release means that we will not only be seeing more of Prince's work in the future, but also more films from the infamous Avon Productions. It may not have appeared on many people's best releases of 2015 lists, but it's up there for me!

The Avon Triple Feature is available on DVD from Vinegar Syndrome as well as each film being streamable on Exploitation.tv.

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Vinegar Syndrome Review: Pretty Peaches (1978, dir: Alex de Renzy)

2016-01-25T12:54:00.000-08:00

“Introducing Desireé Costeau as 'PEACHES'”

Hugh (John Leslie, DRACULA SUCKS) is about to marry Lily (Flower, SHIELA'S PAYOFF) and he wants his bubbly daughter Peaches (Desireé Costeau, HOT RACKETS) from his first marriage, to be a part of the festivities. Thankfully the stepdaughter-stepmother relationship starts off well with the trio hitting up the nearest slot machines. Unfortunately, Peaches comes to the realisation that she now has to potentially compete for her father's love and attention. After sinking down a few shots she does the sensible thing and jumps in her jeep to let off some steam. Whilst on her little bender, Peaches is involved in an accident and subsequently left unconscious. Thankfully, however help is on hand as Kid (Joey Silvera, CARNAL HAVEN) and Jesse (Ken Scudder, CHAMPAGNE FOR BREAKFAST), two good Samaritans who are having their car problems “nurse” her back to health. Once Peaches has regained consciousness, she realises that she is suffering from amnesia. Seeking their opportunity to have their own personal plaything and the potential of making some good old fashioned ransom money, they invite her to stay with them and help her get better. Kid suggests she pay his “Uncle Percy” a visit. Instead of help, Peaches finds herself on the wrong end (as if there's a right one) of a forced enema. After such a traumatic experience, her spirits are lifted when she finds a potential job as an erotic dancer. Unfortunately, what starts out as an above board (if not slightly scuzzy) audition turns in to Peaches being forced in to an all-girl dominatrix show (it happens to best of us). Just as things are reaching breaking point for Peaches, she has a chance encounter with a handsome psychiatrist (Paul Thomas, JESUS CHRIST SUPERSTAR) who may hold the key to not only healing Peaches, but reuniting her with her worried father as well bringing her genuine happiness. No matter what the outcome, this is a de Renzy film so it's only going to get even stranger!

Pretty Peaches is certainly a stand out film. Where else are you going to find a warped adaptation of Voltaire's Candide that plays sexual atrocities off as a goofy comedy? Yes indeed, all of the physical, emotional and psychological abuse dished out to the naïve Peaches is played for laughs! Being a de Renzy film, it wouldn't surprise me if it was purely intentional. Therefore, it may not sit right for some of the more sensitive amongst you, but it sure did make this corrupted soul smirk! From being bubbly and innocent to a complete emotional mess, Costeau plays Peaches perfectly. You really go from swooning to feeling genuine sympathy in a heartbeat. She suffers pretty much every sexual shame you could imagine; raped whilst unconscious, forced enemas, bondage... All that's missing is being shat on! The film is brilliantly cast and as well as those already mentioned, seeing the likes of Blair Harris (TROPIC OF DESIRE) and Sharon Kane (BABYLON BLUE) really help to elevate the film even more. Of course, the lovely Desireé Costeau is the star of the show (not even her bob cut hairstyle can put you off!) and steals every scene she is in. You will be eating out of her hands! All in all, this is a bizarre little comedy that will make you question your existence because of some of the things you WILL genuinely laugh at. It's a simple story that's well written and even though it's a porno with a feature length running time; you won't need to press that fast forward button. You're probably not really going to get off on the action, but it's definitely “interesting” to say the very least. The ironic thing is, de Renzy is capable of much seedier and sinister delights! There's a reason why this film is a classic. There's a reason why most consider this de Renzy's greatest film.

A wonderful film like this deserves the gold star treatment and golly gosh has Vinegar Syndrome done just that! Restored fully uncut in 2k from 35mm elements, the film looks and sounds fantastic. Of course, there's some minor damage here and there, but it's only there if you are actively looking for it just to bitch on forums. Not only does the film look and sound wonderful, but there's some great special features too. There's a rare interview with Alex de Renzy himself in which he talks about the film, his career and those he had the pleasure to work with. There's also an interview with film historian Dr. Ted Mcilvenna, founder of the Institute for Advanced Study of Human Sexuality which gives us more of an insight in to the prolific de Renzy and a bit of a dick tease regarding multiple unedited documentaries from the great director. Aside from those two wonderful interviews, there are also trailers for Pretty Peaches 2, Femmes de Sade and Baby Face 2. As you can tell, it's a wonderful release and a must own.

Pretty Peaches is available as a stand alone DVD or part of a limited edition Pretty Peaches Blu-ray as well as being available on Exploitation.tv

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Severin Review: She Killed in Ecstasy (1971, dir: Jess Franco)

2016-01-22T01:50:00.000-08:00

SHE KILLED IN ECSTASY
(1971, dir: Jess Franco)

Dr. Johnson (Fred Williams, COUNT DRACULA) is a hard working scientist who has it all; his beautiful wife (Soledad Miranda, VAMPYROS LESBOS) a luxurious lifestyle and a potential scientific breakthrough that will revolutionise medicine, That's until his Dr. Huston (Paul Muller, LADY FRANKENSTEIN), Dr. Crawford (Ewa Strömberg, THE DEVIL CAME FROM AKASAVA), Dr. Donen (Jess Franco himself) and Prof. Walker (Howard Vernon, ZOMBIE LAKE) deem his work and his methods to be a crime against nature and a detriment to their own reputations. As a result they shut him down, strip his license and destroy his laboratory, hurting his wife in the process. All of this causes him to go insane. Fearing for her husbands safety, Mrs. Johnson takes him out of the city and the pair take up residency in a beautiful house on a remote island. Unfortunately, there really is trouble in paradise as the shamed doctor's mental health deteriorates leading him to take his own life. Consumed by grief, his beautiful widow has a desire to seek revenge on those responsible for her husband's downfall. She decides to do this in what she considers the cruelest of methods; seduction and cold blooded murder. She doesn't have long to pull it off as she has an inquisitive inspector (Horst Tappert, DERRICK) on the case.

What we have in She Killed in Ecstasy is a genuinely well made erotic thriller inspired by a Gabriel Marcel play Naturally, there is an element of sleaze to be found, but it's much more restrained than some would expect. The film is ultimately somber in tone. It may not be the most complex of stories, but Franco has created something that has real weight to it. Soledad's vengeful widow is genuinely sympathetic and although she carries out horrific acts, you get the sense that she's suffering internally as she is dishing out her gruesome revenge. She may be getting said revenge for her husband, but it's not something that she truly relishes. Not only does she seduce and murder, but in a style not too dissimilar to posthumous execution, she mutilates the genitalia of her male victims. From her genuinely seductive gaze to her portrayal of a woman losing her mind; Soledad's performance is nothing short of extraordinary. Had she not suffered such a terrible fate, her career would have been full of stand out performances like this, I'm sure. Those wanting to appreciate Soledad in an aesthetic sense will adore this film too. Wether she's completely naked or elegantly dressed, you won't be able to take your eyes off her. Of course, Franco regulars like Muller and Vernon put in a good performance too. Although not the bloodiest or goriest of films, the suicide and murders are staged in a somewhat shocking and impactful way. They could have either been too comically over the top or painfully tame, but thankfully that's not the case. To compliment the film, the jazz score provided by Manfred Hübler and Sigi Schwab (VAMPRYOS LESBOS) ranges from fitting the mood perfectly, to being a strange juxtaposition. Not only that, but orchestrated pieces provided / lifted from Bruno Nicolai (99 WOMEN) are used to devastating effect in the scenes involving the grieving widow and wrongly disgraced husband. This could quite possibly be one of Franco's most emotional and piercing films and being at just over 70 minutes long, it's a very easy watch for even the most critical of Franco's work.

Speaking of which, it's such a shame that Franco was so dismissive of this film and his work, because considering this was just one in a string of swiftly produced films, the level of artistry to be found here is nothing short of mesmerising. From the use of beautiful architecture to the set and costume design, this is a film that proves just how much of an artist Franco really was. Thankfully, the picture and sound quality compliments the film perfectly. Aside from some noticeable dips in quality, there's nothing to complain about in terms of presentation. In terms of extra features, there are interviews with Jess Franco, Paul Muller and Soledead Miranda expert and Stephen Thrower. To top it off there is also the german trailer for the film. A handsome list I think you will agree! This is a must own for both seasoned Franco fans and newcomers alike. In fact, it's probably one of the few accessible Franco films. There's really no excuse for anyone falling under those categories to not add this to their collection.

She Killed in Ecstasy is available on DVD & Blu-Ray from Severin Films.

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Vinegar Syndrome Review: Long Jeanne Silver (1978, dir: Alex deRenzy)

2016-01-13T07:48:00.000-08:00

Before I begin ladies & gentlemen, let me take this opportunity to thank you for making 2015 a great year! I hope you all had a wonderful Christmas, a messy NYE and of course, I wish you all a happy 2016!

LONG JEANNE SILVER
(1977, dir: Alex deRenzy)

“I've Got a Secret: I fooled Mother Nature”

Our film gets off to a great start with the titular Jeanne Silver (WATERPOWER) letting us know that she is handicapped and horny, as well as boasting about having a bigger member than the legendary John Holmes. After such an introduction, we're thrown right in to action with Jeanne enjoying a light hearted threesome with her friends Joey (Joey Silvera, EXPECTATIONS) and Amber (Amber Hunt, CRY FOR CINDY). During this little frolic, we see Jeanne's handicap for the first time. Of course, she utilises it! After that, Jeanne tells us about the almost unlimited sexual opportunities high school has to offer (I obviously went to the wrong school!) and shares her exploits with a boy from her art class who just so happens to be gay. He may not be in to girls, but Jeanne has a trick up her sleeve, I mean her trouser leg! Yes indeed. We all know what happens next! They both enjoy it so who are we to judge!? Following that party trick, Jeanne tells us about fellow students China (China Leigh, TEENY BUNS) and Lori (Lori Blue, CHOPSTIX) who are somewhat prudish. Being the giving girl that she is, Jeanne shows off her Cheri magazine photo shoot and tells them abut life and sex with her stump. Understandably intrigued, they retreat to the bedroom to see what all the fuss is about. Needless to say, their curiosity is rewarded! For her penultimate outing, Jeanne tells us of that time she was a birthday present for a chap named Paul (Paul Thomas, JESUS CHRIST SUPERSTAR) from his wife Sandy (Sandy Pinney, HER LAST FLING). It's a birthday treat that he will never forget. For her final encounter, Jeanne tells us about one of the many lesbian encounters with her horny, leather clad neighbour (I have no idea who she is). Ending on a high sapphic note for sure!

Long Jeanne Silver is a unique experience indeed. The film is essentially a series of vignettes broken up and structured around Jeanne addressing us, the audience. To some extent, it's a rather candid documentary with dramatised reconstructions if you will. You really believe that what we are seeing is in fact the life of Jeanne Silver. The conversation between Jeanne, China and Lori especially has a real sense of legitimacy about it. Even the way some of the sex is filmed further cements that. If you have never seen the film, you probably know why this film is as well known as it is and somewhat infamous. To be honest, as much as that scene is quite shocking (a quick search on even the biggest porn site will expose you too much more extreme sexual acts) and stands out, the real star of the show is Jeanne herself. Not only is she a knockout (she's just as, if not more attractive nowadays), she's funny, carefree and downright bubbly. More importantly for me, even though this film is obviously centred around her handicap and how she utilises it, her personality and all round screen presence shine through. Considering that this is a deRenzy flick and it's centred around an amputee, it's not as sleazy or bizarre as you would think. It's really quite a sensitive and an all round human film. Jeanne isn't portrayed as a freak, she's celebrated as opposed to being exploited. Everyone else involved do a great job too, but then again, they have no need to show off their acting chops. The film might have quite a reputation, but it's so much more than that. At around 65 minutes, the film flies by and is an easy watch. Overall, it's a winner that you can go back to time and time again.

Who would have thought we would get a restored and uncut version of this gem? It may not be the greatest looking or sounding restoration job from Vinegar Syndrome, but considering it's restored from a 16mm Archival Print, that can be forgiven. In terms of special features, there's only a commentary track. As much as I would have loved a trailer (if there actually is one that exists), I am not going to complain because the commentary track (recorded over the phone so it's perfect) is from Jeanne herself who is essentially going in to the film blind. It's entertaining as it is amusing. Overall, this is a must own for fans of the film and newcomers a like. It warms my cold, almost dead heart that a film like this is now has a restored, easy to obtain and ultimately legitimate release. Not only that, but it's great to see that thanks to this release, the wonderful Jeanne Silver is now finding a new audience and getting the respect that she deserves. It's also great that most of us can now get rid of that pesky Alpha Blue Archives disc!

Long Jeanne Silver is available on DVD from Vinegar Syndrome.

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Arrow Video Review: What Have You Done to Solange? (1972, dir: Massimo Dallamano)

2015-12-24T04:42:00.000-08:00

WHAT HAVE YOU DONE TO SOLANGE?
(1972, dir: Massimo Dallamano)

Enrico Rossini (Fabio Testi, Heroin Busters) is a teacher who is a bit of a naughty boy. Whilst trying to get down on a row boat (of all places) with young student Elizabeth (Cristina Galbó, The Living Dead at Manchester Morgue), their extra curricular activities come to a halt when Elizabeth claims that she has just witnessed the murder of a young girl. Dismissing this is as Elizabeth not wanting to seal the deal, it's not until Enrico is back home with his wife Herta (Karin Baal, Lola) that he hears about the murder on the radio. What starts out as an unfortunate isolated case, soon becomes the first of many gruesome murders. The only connection; all the victims are students at the Catholic girls school in which Enrico works. With the reputation that he has with his students, it's not long until Enrico becomes prime suspect. However, when Elizabeth is continually haunted by visions of a priest and becomes a victim of the sadistic killer, Enrico is soon deemed innocent. With his nubile plaything and career in tatters, he's on the case to solve the mystery once and for all. His marriage? Well, thanks to Elizabeth's frigidity, the pair never actually had sex and that's fine by Herta apparently! The plot thickens when Enrico becomes aware of a mysterious young girl named Solange (Camile Keaton, I Spit on Your Grave). What does she have to do with recent slayings? What exactly happened to Solange?

What Have You Done to Solange? Is nothing short of a giallo masterpiece. What we have here is a solidly written murder mystery very loosely based on Edgar Wallace's The Clue of the New Pin. Alongside Dallamano we have Bruno Di Geronimo (Flavia the Heretic) and Peter M. Thouet (The Legend of Tim Tyler) on writing duty. Their screenplay goes from sleazy to violent, but is always atmospheric and consistent. There are red herrings a plenty to be found, but thankfully, they actually work and don't feel too forced or ambiguous. Morally however, I do believe it's confused at points. Some may find real problems with our amateur sleuth being what we would now call a sexual predator. Just like Fulci's Don't Torture a Duckling and Bido's The Bloodstained Shadow, there's a real sense of distrust to Catholicism here. It would be morally corrupt (HA!) of me to go in to detail, so I will just say that wether the killer is indeed a priest or not, the fact that a character would don the disguise of a priest says a lot. There have been much more eloquent writers who have covered the aspect of Catholicism in cinema, Shelley F. O'Brien's essay Killer Priests: The Last Taboo makes for interesting reading! Moving away from that, what really struck me about Solange was how aesthetically satisfying the experience is. It's no surprise that Morricone's (Do I really need to name drop here?) score is amazing as always with so much range, but quintessentially Morricone. Chances are, you heard extracts of the score before even being aware of the film itself. That combined with some fantastic cinematography from Joe D'Amato (Porno Holocaust), who also has a fun cameo in the film, makes London feel melancholy, yet beautiful and ultimately mysterious. I'm reminded of the empty morning streets found in Bido's Watch Me When I Kill as I watched.

I said that the film goes from sleazy to violent, that's true. That being said, aside from some genuinely nasty sexualised deaths, the gore is somewhat restrained and often fuels the imagination of the viewer. Those looking for flesh will be very happy with this as there is plenty of schoolgirl action throughout (especially some innocent, yet seductive shower fun). There are plenty of sleazy characters about too. The film is a great example of having some sinister themes and overall nasty moments without it being trivialised by being too exploitative. Plenty of directors could have just gone for all out gore and overly graphic sex. There's a real sense of maturity throughout. Considering that is a somewhat early example of the gialli, I really found this film to be quite a head of its time. We all know that Mario Bava drew up the plans and Dario Argento began building on the foundations, but as much as I have heard many great things about this film, I don't think this film gets the overall credit it deserves. Of course, it's not classically considered a perfect film and even I almost cringed at some of the British dubbing, so many silly accents. All in all, this is an entertaining, often shocking thriller that has to be seen.

Thankfully, the film is presented beautifully both in terms of picture and sound. We have a 2k restoration that is pretty much flawless. Both Italian and English dubs are included with the Italian being the better quality of the two. In terms of on disc special features this is a fantastic release. First of all we have newly edited interviews with Fabio Testi and producer Fulvio Lucsiano from 2006, a new interview with Karin Baal, in which she has some interesting things to say about the film, a fantastic video essay from Michael Mackenzie that looks at Dallamano's “Schoolgirls in Peril” Trilogy, a trailer and to top it off an audio commentary with Alan Jones and Kim Newman.
Of course, Arrow have included a booklet with writings from Howard Hughes and Art Ettinger and reversible artwork with a fantastic piece of art from Malleus. Overall, this is a must buy for fans and newcomers. If you are yet to dip your toe in to the world of the gialli, this is a great place to start! For the people who had to buy that cheap cardboard sleeved version on Amazon (you know who you are!), you can throw that version away now!

What Have You Done to Solange? Is available as a DVD / Blu-Ray combo from Arrow Video.
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Vinegar Syndrome Review: Demonoid (1980, dir: Alfredo Zacarias)

2015-12-13T12:47:00.000-08:00

DEMONOID
(1980, dir: Alfredo Zacarias)
“Up from the depths of hell comes the ultimate horror!”

Samantha Eggar (The Brood) stars as Jennifer Baines a woman who is visiting her wealthy industrialist husband Mark (Roy Jenson, Soylent Green) in the small city of Guanajuato, Mexico. Mark is currently planning to reopen a mine which is is rich in silver. Unfortunately for him, his workforce is comprised of superstitious locals who refuse to go deep in to the mine. To prove everything is fine, Jennifer suggests that the pair go deep down in to the mine, but they get more than what they bargained for; a severed hand. “The Devil's Hand” to be precise, with their workforce even more terrified, things surely can't get any worse can they? Yes. Yes indeed! It becomes infinitely (and fatally) worse! You see, the severed hand has the power to not only posses the left hand of its victim, but the person themselves. Eventually turning them in to a bloodthirsty, super strong killing machine. After Mark is taken over by the demonic force, he kills himself in the hopes of stopping the curse. With her husband dead, Jennifer travels back home to L.A where he is buried only to find he has risen from the grave and the demonic force is on the loose. With the help of Father Cunningham (Stuart Whitman, Night of the Lepus), the priest whose cemetery Mark was buried in, Jennifer begins her quest to conquer over evil and put an end to demonic forces once and for all. Let the obscene battle between good and evil begin!

First things first. What you just read was an abridged version of what happens in this film. I'm not one of those reviewers who gives a play by play record of events because what's the point if you know too much? With a film like this, you will thank for me for being somewhat vague. If you thought the basic plot for this film was absurd, just you wait until you actually watch the film. To say there are some obscene moments would be an understatement. Get ready for wonderful deaths, some absurd moments and twists that will do nothing but please. A film like this naturally has some wonderful acting on display and the script; penned by four separate writers, will have you balling. Yeah, this is a film that's to be taken as seriously as a clowns' funeral! How the heck the likes of Samantha Eggar got involved in a film like this is beyond me, but I am very thankful for it! Aesthetically, the film isn't anything to shout about. It's pretty much by the numbers in terms of cinematography, not one of Alex Phillips Jr's (King Solomon's Mines) most memorable efforts. Editing from Sandy Nervig (Pocahontas) serves it purpose, but what does stand out is the fantastic score composed by Richard Gillis (The Bees) and the effects from Robert A. Burns (The Hills Have Eyes) and Chubby Cordero (their only credit). Both of these aspects add so much charm and could be argued as the most accomplished aspects of the production. The score and effects range from being charmingly simple to outright imaginative and well executed. Overall, this is a hokey sort of film that should be experienced even by the exploitation fan who has seen everything.I think this would be a great film to watch alongside Raw Force! I should also mention that Russ Meyer fans will appreciate seeing the lovely Haji (Supervixens) make an appearance!

Overall, Vinegar Syndrome have done a great job with the restoration and presentation of the film. Of course, it's not perfect due to either the condition of the negatives used or the actual cinematography itself (I hope I don't sound like I'm shitting on a guy like Alex Phillips Jr!). That being said, it's no issue at all because hey, this is the first official DVD / Blu-ray release of this film! In terms of extras you also get the complete international cut of the film; Macabra. This is a completely different and extended experience. It loses some of the gore as well as the intro and replaces it with more dialogue, story and an extended ending. The score is also different in places. It's a great extra to have and has gone under the same high quality restoration and presentation processes.Not only that, but you get the option of French or English dubs, with subtitles of course. Alongside that there is an insightful interview from the director himself as well as a selection of trailers, a TV spot and reversible artwork. All in all, it's a great package for a film that surprised and entertained this jaded horror fan. It's a great upgrade to that bootleg you used to own as well as being a great release for someone experiencing the film for the first time.

Demonoid is available as a DVD / Blu-Ray dual format release from Vinegar Syndrome and can be streamed on Exploitation.tv.
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Severin Review: Vampyros Lesbos (1970, dir: Jess Franco)

2015-12-08T07:22:00.000-08:00

VAMPYROS LESBOS
(1970, dir: Jess Franco)“Psycho-Sexadelic Horror Freakout!”

Young lawyer Linda (Ewa Strömberg, She Killed in Ecstasy) is haunted by an erotic recurring dream involving herself and her lover Omar (Andrea Montchal, Eugenie de Sade). The dream involves herself and Omar enjoying a stage show involving a young and beautiful seductress (Soledad Miranda, Count Dracula). After the show, Linda is beckoned, seduced and killed by the mysterious nubile. Her therapist, Dr. Seward (Dennis Price, Son of Dracula) seems to think that the recurring dream is down to Linda needing a new sexual partner. Fair enough! Unfortunately, there's no time for that as Linda is assigned to visit a woman by the name of Countess Nadine Carody, who has recently inherited property from none other than Count Dracula! Once she has arrived and settled in, it's on to business. Before she can get the Countess's signature and realise who she's dealing with, she is drugged, seduced and then bitten by the bloodthirsty Countess. As if it wasn't bad enough, Linda then finds herself with a case of amnesia and under the care of Dr. Steiner (Paul Muller, Lady Frankenstein). It's her lucky day however, as Steiner is more than just a doctor, he's also a vampire hunter. With the help of the doctor and Omar, Linda must put an end to Countess Carody's bloodthirsty reign. It's not going to be easy, but it sure is going to be bloody!

Where do you start with a film like Vampyros Lesbos? Jess Franco is one of my all time favourite directors and even though I find his back catalogue to be very hit and miss (with a filmography that size, it's understandable), I can safely say I enjoyed this greatly. Right off the bat, you can tell this is a Franco film. From the cinematography to the way the action is staged and played out. Some may find his overuse of the zoom to be annoying and the snobs out there will turn the nose up at the occasional out of focus shot, but these tiny things all play in to my compassion for Jess Franco. There's some absolutely gorgeous locations used here and the set design as well as the costumes are second to none. As cheaply made as this film is, Jess definitely has a good eye for style and working around budget constraints. You sometimes find yourself scratching your head when trying to follow the plot of a Franco film, but Franco with the help of Jaime Chávarri (To an Unknown God) and Anne Settimó (Jungle of Fear) have scribed a cohesive, yet abstract enough to stand out feminine retelling of Bram Stoker's Dracula, even if Chávarri now distances himself from the film. There's a real sense of atmosphere throughout that often makes the film feel almost dreamlike. The score from Sigi Schwab (The Devil Came From Akasava) and Manfred Hübler (Intercontinental Express) adds to that dreamlike atmosphere, but also ranges from haunting to out right funky. It's up there with one of Franco's best film scores and worth looking in to if you like jazz. The star of the show (both literally and metaphorically) is the Countess herself, Soledad Miranda. All she has to do is look directly in to the camera and the audience is eating out of her hands. Her performance is subtle, yet effective and fundamentally sensual. Right from the first few seconds where she is beckoning the viewer. This is her film. Don't get me wrong, everyone else puts in a good turn for the most part, even Franco himself appears as a somewhat mentally challenged and sleazy island local with his own secret, but the focus is on Miranda, even if this may not be her most demanding role. It's clear that if she hadn't had met her untimely demise, she would have made even greater waves in the film industry. Of course, those looking for bare flesh and blood will be very happy I'm sure as there is a good amount of that thrown in too. That being said, this is more classy than pure schlock or sleaze. A perfect film for the turtleneck wearing Franco fan!

In terms of sound and picture quality, the film has been beautifully restored and presented here. Of course, being that this is a Franco film and the source material may have not been preserved at the most optimal of levels, there are some focus issues and the sound can get a bit questionable, it shouldn't be an issue at all. Those wanting special features will be very happy in my opinion. There's an interview with Franco himself talking about the film, his relationship with producer Artur Brauner and of course Soledad. Is it just me or is it like watching your granddad telling you stories when you watch a Franco interview? Sticking with Soledad, there's an interview with Amy Brown, founder of the official Soledad Miranda website, that goes in to the life, career and death of Soledad. The final major feature is an interview with Franco scholar Stephen Thrower which gives a bit more insight in to the film. Not only that, but we also get an extra clip of Franco talking about his experience with Stuart Freeborn (Star Wars: Episode IV – A New Hope)
and his true inspiration behind the look of Yoda, original German opening title sequence and of course, the German trailer. As if that weren’t enough, the film is packaged up with some gorgeous newly-commissioned art from Wes Benscoter. All in all, this is a must own for UK lovers of Jess Franco, Soledad Miranda and of course; Vampyros Lesbos. This would also make a great starting point for newcomers!

Vampyros Lesbos is available on DVD & Blu-Ray from Severin.
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Vinegar Syndrome Review: Frightmare (1981, dir: Norman Thaddeus Vane)

2015-12-01T04:25:00.000-08:00

FRIGHTMARE
(a.k.a THE HORROR STAR, BODY SNATCHERS)

(1981, Norman Thaddeus Vane)

“There was Bela Lugosi, Boris Karloff, Lon Chaney, and Conrad Ragzoff! They were all stars who lived and died. But only one returned...”

Fandom takes on a whole new meaning when a group of film loving college students decide to pay the ultimate respects to their favourite horror icon, the recently deceased Conrad Radzoff (Ferdy Mayne, Barry Lyndon). How do they do this? Hold a memorial? Have a Radzoff horror marathon? Nope, they decide to steal his freshly buried body and give hime the ultimate farewell house party back in their mansion! Like most cases however, this is one of those instances were one of your heroes is actually an arsehole (Cough-Tom Savini-Cough!). You see, Radzoff had an often fatal temper. Not even a cameo from Leon Askin (The Robe) is safe! To make matters infinitely worse for our group of corpse stealing cinephiles, Mayne decides to carry on his bloody streak from beyond the grave. One by one, the students learn a valuable lesson; let sleeping corpses lie (see what I did there?, especially if they happen to be a bloodthirsty prima-donna!

Frightmare is a somewhat unique experience. A supernatural slasher that although rather straight-faced, is still fun and doesn't take itself too seriously. That being said, in between Radzoff dying and him picking off the students, the film does plod a little. It's still a very solidly directed and written film however. There's some solid cinematography that utilises light perfectly from Joel King (The Mighty Ducks) and an atmospheric score from Jerry Mosely (Blood Tide) who should have gone on to do greater things as the score seems to take reference and pay homage to many horror film scores of yesteryear, as well as being contemporary with some fantastic synth work. All in all, aesthetically the film ticks all the boxes. The deaths, although not too graphic are staged and executed solidly thanks to the work of Jill Rockow (Pirates of the Caribbean) and Chuck E. Stewart (Con Air). The star of the show is of course Ferdy Mayne. Sure, he can be campy as hell in his performance, but it works perfectly within the context of the film. A role intended for Christopher Lee (Dracula: Prince of Darkness), Mayne fills the boots perfectly and even though we see clips of young Ragzoff, it takes a minute to realise it's actually footage of a young Christopher Lee. Although a despicable character, it's so satisfying to see him kill the group of unlikeable students. This isn't because of bad writing, it's because they are complete douchebags. Within the group of students we have performances from a young Jeffrey Combs (Re-Animator) and Luca Bercovici (Drop Zone). The film is really well cast and everyone puts in a great performance, no matter how significant their role is.

If you're a fan of horror cinema that deals with horror cinema, this is a film you must watch. Thanks to film historian David Del Valle, the film itself is littered with actual props and memorabilia. From the poster of Lucio Fulci's Zombie Flesh Eaters to the decapitated head of Frank Zito from Maniac. There is so much to ingest in that regard. Not only that, but there are typical horror tropes and references throughout for the seasoned horror fans out there to discover. All in all, I enjoyed Frightmare more than expected. Sure, it won't change your perception of the slasher genre, but it has enough there to warrant repeat viewings. In terms of the release, I can't say I've seen the previous Troma release, but from my research, Vinegar Syndrome have done a great job upgrading this film in both a visual and audible sense. Don't get me wrong, it's not Vinegar Syndrome's greatest effort, but it's still a lot more than most labels would do. On the disc we have two commentary tracks; one from The Hysteria Continues and one from David Del Valle and David DeCoteau. There's an archival audio interview from Vane himself prior to his death, an interview with cinematographer Joel King, original theatrical trailer and reversible artwork showcasing The Horror Star artwork. It's a great release for both fans and newcomers.

Frightmare is available as a DVD & Blu-ray combo from Vinegar Syndrome and available to stream on Exploitation.tv

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Vinegar Syndrome Peekarama Review: The New Erotic Adventures of Casanova (1977) / Casanova 2 (1982)

2015-10-17T02:51:00.001-07:00

THE NEW EROTIC ADVENTURES OF CASANOVA (1977, dir: Carlos Tobalina)

John Holmes (Eruption) stars as John, a man who has recently inherited and sold off the estate of his late great grandfather. Looking for something of a keepsake, he visits the antique dealer (Tory Jeffery, The Autobiography of a Flea) and is given a bottle of cologne found in a desk. The cologne belongs to great Casanova and was used to scent his love letters. He applies some to his clothes and this leads to the first of many sexual encounters, this time being with the cleaner of the motel he is staying at. Once getting dirty with cleaner, he visits his family while he's in town. Unfortunately (or fortunately, depending on your preference) the effect of the cologne rubs off on them, leading John to literally rub off on them. Yes, even his underage cousins fall foul to magic of this scent. John is telling his story to his therapist, Dr. Sharpe (Susan Silver, Casanova 2). Initially skeptical of John's story, she gives the cologne a whiff and well, we all know how this story (and in this case, the actual film) ends.

Starting off very promising with a good sense of scope and seeming to have an actual budget thanks to costume design (always had a thing for women's costumes from this period, classical music and location photography which admittedly, is mainly thanks to footage lifted from Bud Yorkin's Start the Revolution Without Me. Yeah, Donald Sutherland (Don't Look Now) is clearly seen within the film's opening sequence. Even with that, the films has a sense of “legitimacy”. Unfortunately, the film loses its charm when we cut to present day. Don't get me wrong, John Holmes is fantastic throughout. He plays the role of Casanova so well and is genuinely smooth and charismatic, even when he's partaking in Monty Python-cum-Benny Hill sword fights! It just becomes your typical Tobalina fodder. Don't worry, there's group scenes and once again, themes like underage sex and incest are dealt in an almost tongue in cheek fashion. Thankfully seeing the likes of Jane Goodman (unfortunately her only role) and Sandy Pinney (The Pony Girls) soften the blow. All in all, this is a much more classy affair from Tobalina. The king of missed opportunities strikes again.

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CASANOVA 2
(1982, dir: Carlos Tobalina)

After a recap of Casanova's exploits, we find our smooth talker talking on three aggressors with his sword (ha!). After they are defeated, he discovers one is a woman (Cathy Linger in her only role). Seeing that she is still alive, he takes her to the nearest house and demands a doctor. With the outlook for the fallen swordswoman bleak, there seems to be a silver lining; the woman who fetched the doctor is named Myra (Bridgette Felina also in her only role unfortunately), who at 16 was deflowered by none other than Casanova. The pair reminisce and the swordswoman in her potentially final hours wants to be impaled once again. After this weird little threesome we are told that the swordswoman birthed Casanova’s son, Don Juan (Bjorn Beck, another one hit wonder). Fast forward to Don Juan on his own journey showing off his sword skills (in both senses, just like daddy!). He finds himself sorting out some family problems for Count de Léon (Rick Ardon, Sadie) and his wife Isabella (Jessie St. James, Vista Valley PTA). After that we fast forward to where the first film finished. John is now in a relationship with Dr. Sharpe and they decide to commercialise the cologne, which has some rather surprising effects changing John's life forever!

Although mainly comprised of recycled and unused footage from the first film, the sequel is actually an improvement. It's nothing amazing and still has that purely for the money Tobalina feel, but the film just works better. The film takes an interesting turn and even though there is A LOT of what you could assume is previously existing and unrelated sex in the latter third, it makes sense. If Tobalina is one thing, he is shrewd. One cannot fault him that regard. Once again, John Holmes steals the show, but it's nice to see the likes of Kay Parker (Taboo) and Bill Margold (Dracula Sucks) make a brief appearance. Once again, there's a sense of scale and shows the creative potential of Tobalina. It was also surprising to see just how many cast members had only this as their credit. There is some real talent on show throughout and a lot potential big names in the making. Maybe just like Tobalina, they were looking for a quick pay-check. Overall, not a bad effort at all and one of Tobalina's better productions which surprises me because knowing of Tobalina's work and the fact that this is a sequel five years after the original, it could have been a complete mess.

Overall, this isn't a bad pairing of films. Sure, they reek of the aspects of Tobalina that most can't stand, but this is when cutting corners and uses cheap tactics works for me. It's done well and reminds me of one of my favourite directors; Bruno Mattei. The biggest thing for me is the way the films are structured. If you were to take all the period elements of both films and edit them in to a cohesive story, you'd have a genuinely good period adult feature. You could then take all the present day story and have that edited together into a cohesive sequel. I think the films would work much better in that regard. That being said, I could happily watch this double feature again. Vinegar Syndrome have once again done a nice job on restoration and presentation. Sure, it isn't perfect, but it's much better than what some would say Tobalina deserves. In terms of extra features, you get trailers for both films. If you have become disheartened with Tobalina or have yet to experience his work, I would highly recommend this release.

The New Erotic Adventures of Casanova and Casanova 2 are available on DVD from Vinegar Syndrome or online to stream at Exploitation.tvPDx