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

  "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

Wild Eye Releasing Label Spotlight

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: Nightmare City (1980, Umberto Lenzi)

  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.

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

  “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: Demonoid (1980, dir: Alfredo Zacarias)

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)

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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