List: Video Nasties

* Absurd
* Anthropophagous
* Axe
* The Beast in Heat
* The Beyond
* Blood Feast
* Blood Rites
* Bloody Moon
* The Boogeyman
* The Burning
* Cannibal Apocalypse
* Cannibal Ferox
* Cannibal Holocaust
* Cannibal Man
* Cannibal Terror
* Contamination
* Dead & Buried
* Eaten Alive
* Man from Deep River
* Delirium
* Devil Hunter
* Don't Go in the House
* Don't Go in the Woods
* Don't Go Near the Park
* Don't Look in the Basement
* The Dorm That Dripped Blood
* The Driller Killer
* The Evil Dead
* Evilspeak
* Exposé
* Faces of Death
* Fight For Your Life
* Flesh for Frankenstein
* Toxic Zombies
* Frozen Scream
* The Funhouse
* Gestapo's Last Orgy
* The House by the Cemetery
* House on the Edge of the Park
* Human Experiments
* I Miss You, Hugs and Kisses
* I Spit on Your Grave
* Island of Death
* Killer Nun
* The Last House on the Left
* Night Train Murders
* Living Dead At Manchester Morgue
* Love Camp 7
* Madhouse
* Mardi Gras Massacre
* Night of the Bloody Apes
* Night of the Demon
* Night Warning
* Nightmare in a Damaged Brain
* Mountain of the Cannibal God
* Revenge of the Boogeyman
* The Slayer
* Snuff
* SS Experiment Camp
* Tenebrae
* Terror Eyes
* The Toolbox Murders
* Twitch of the Death Nerve
* Visiting Hours
* The Werewolf and the Yeti
* The Witch Who Came From the Sea
* Women Behind Bars
* Zombie Creeping Flesh
* Zombie Flesh Eaters Read The Full Post HERE!

Tenebrae (1982)

The famous author Peter Neal is on a publicity tour through Italy when a mysterious killer begins staging murders after those found in his most recent novel. Neal must partner with the police and follow a trail of intricately-placed clues in order to unmask his obsessed fan. Dario Argento's TENEBRAE is an iconic film amongst Giallo enthusiasts, pushing each of the defining characteristics of the genre to their extremes! It includes everything the Italian film fan has come to love: a sadistic black-gloved killer, psycho-sexual themes, incomprehensible twists, and a series of exotic deaths. In spite of its convoluted plotting and lapses in logic, this brilliantly-crafted suspense thriller still manages to utterly shock and surprise audiences. The stylish murder sequences are as brutal and bloody as they are beautifully shot. Nothing is ever ugly in an Argento film, and even death is portrayed as a macabre masterpiece! TENEBRAE also includes one of the director's most complicated, impressive, and completely unnecessary crane shots that takes the viewer in, up, and around an entire two-story building to find a woman under attack on the other side. The exhilarating electric stylings of Italian rock group Goblin add an additional level of excitement to the high-powered murders found throughout the film. Considered by many to be Dario Argento's greatest Giallo (let alone film), TENEBRAE is an absolute must-see in the genre, and an incredible thrill ride of shock and suspense!

Rating: 9/10.
Gore: 8/10.

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Maximum Overdrive (1986)

80's audiences knew they were in for a fun ride when MAXIMUM OVERDRIVE kicked off by having an ATM machine call writer/director Stephen King an 'asshole' in the opening scene! Adapted from his own short story Trucks, King's first and only directing gig has the world overrun by killer machines that have been brought to life by a passing comet. It is up to a small group of survivors led by Emilio Estevez to take out the metal monsters before they destroy everything in their path! King's dark humor overflows into ever aspect of the script, from the sharp dialog to the hilarious manner in which the characters are killed. Early on, an entire Little League team is pelted to death by a rogue soda machine, while one of the kids is flattened by a steamroller after being thrown off of his rebel bicycle. Later, several characters are shocked, shot, and splattered by oncoming autos. On top of the outrageous deaths, MAXIMUM OVERDRIVE is filled with thrilling chase sequences, explosive action, and an electric soundtrack by Australian rockers AC/DC! Emilio Estevez plays the ultimate gun-totting badass, turning the renegade machines into twisted metal with a grenade in one hand and a bazooka in the other. Fans can easily overlook the repeated errors in logic and plot cohesion as they head-bang to the bloody carnage on-screen. MAXIMUM OVERDRIVE is a high-octane 80's classic, and a must-see for Horror fans!

Rating: 7/10.
Entertainment: 9/10.

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Press Release: S&man

When cult horror favorite filmmaker (JT Petty), ventures into the dark world of underground horror fetish film industry things don't exactly go as planned. As he begins to examine the classic comparison between filmmaking and voyeurism within the horror genre, he is introduced to a collective of what he believes to be either creative filmmakers just meeting the demand of their disturbed audiences or actual deviants and possibly murderers themselves. One of the most notorious of these film series that he comes across is called "S&MAN," produced by a rather unassuming man named Eric. Petty digs into his subject Eric, trying to get him to reveal the names of some of the actors in his films who play the "victims," the deeper Petty prods the more Eric begins to shut off. Eric passes off his lack of participation to not wanting to give away the illusion of his films by allowing access to those actors. Realizing that the real reason might be that these victims are not in fact actors, Petty finds himself in dangerous territory, making S&MAN the most unsettling horror film experience in years. Read The Full Post HERE!

Chopping Mall (1986)

CHOPPING MALL is every bit the cheesy B-movie that the title suggests. Its goofy plot finds a group of teens fighting for their lives when they are locked in the mall with three robotic security guards that have been reprogrammed... to KILL!! Jim Wynorski directs this trashy Slasher that will only be remembered for a few of its outrageous death scenes. While most of the kills are pretty unremarkable, CHOPPING MALL gives DEADLY FRIEND a run for its money when a stray laser beam competes for the 'Best Head Explosion in an 80's Film' award. If the outdated fashion and big hair weren't enough to give away the film's age, the cornball humor and synthesized score will certainly do the trick. Horror fans will be happy to see a number of recognizable faces, including Roger Corman favorite Dick Miller and scream queen Barbara Crampton in a pair of brief cameos. Even at its worst, CHOPPING MALL is still an entertaining popcorn movie with enough killer robot mayhem to please the average Slasher fan!

Rating: 5/10.
Entertainment: 7/10.
Gore: 5/10.

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Legend (1985)

After taking on action and horror within the Science Fiction realm, director Ridley Scott embarked on an incredible fantasy adventure in 1986's LEGEND! Despite numerous edits resulting from mixed reviews upon its initial release, the film has remained one of the most stunning visual experiences in the Fantasy genre.

LEGEND takes place in a whimsical world that is painted in pastels and filled with fanciful creatures like goblins, fairies, and unicorns. Jack hopes to impress the princess, Lily, by introducing her to the immortal unicorns, but when she breaks her promise and touches them, the evil forces are able to kill the beast and remove its horn for their dark lord. Lily is kidnapped along with the magical horn and taken back to the Lord of Darkness, and it is up to Jack and his woodland friends to summon the courage needed to defeat the evil that threatens to destroy their world!

Drawing from a wealth of fairy tales and fables, LEGEND is rooted in classic character archetypes and the medieval themes of love, courage, valor, innocence, and evil. Unfortunately, these characterizations are never fully developed, and are placed haphazardly into a muddled plot. Unlike other fantasy epics like WILLOW or THE LORD OF THE RINGS, the adventure in LEGEND is relatively short-lived, with the heroes gathering and reaching the dark palace in very little time with few obstacles. What it lacks in structure, however, it more than makes up for in the breathtaking set work and otherworldly environments that fill each and every frame. While LEGEND excelled on almost every technical level imaginable, it would be Rick Bottin's incredible make-up designs that would earn the picture an Oscar® nomination in 1987 for his work on the demonic lord and many of the other terrifying creations.

Tim Curry takes on yet another unforgettable role as Darkness, a towering devil with piercing horns and a thundering voice. He is thwarted by a young Tom Cruise, whose early performance lends plenty of charm but very little heart to the role. Mia Sara rounds out the cast as the beautiful but troublesome princess upon whose shoulders the fate of the world must be decided.

Although LEGEND was not met with a positive reception in the late-80's, it has since become a cult-classic amongst its many fans. The imaginative world of sublime fantasy that Ridley Scott has created makes for an incredible viewing experience like no other.

Rating: 9/10.

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Scream of Fear (1961)

Penny, a young invalid, returns home to find her father missing. She becomes increasingly suspicious of her step-mother and her father's friend, Dr. Gerrard, when their stories of her father's whereabouts begin to shift. Will their attempts to drive her insane and gain her inheritance succeed before she is able to uncover the truth behind her father's disappearance? SCREAM OF FEAR is a small but effective thriller from the great Hammer Studios. It produces several clever and unexpected plot twists that occur just when the audience feels that they have everything figured out. Susan Strasberg accounts for much of the film's success, delivering a strong and memorable performance as the poorly misguided Penny. Christopher Lee also appears in a subdued role as the scheming Dr. Gerrard. The picture is filmed in a rich black and white, carefully crafting its suspense through its moody lighting and eerie score. Although it was clearly influenced by the success of DIABOLIQUE and PSYCHO, this is certainly one of Hammer's better thrillers, and a worthy Hitchcock imitation.

Rating: 8/10.

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The Butcher (2007)

THE BUTCHER may be the only instance where the term "Torture Porn" can rightfully be used to describe a film. All of the unjust criticisms that fell on remarkable films like WOLF CREEK, SAW, and THE DEVIL'S REJECTS should have been saved for Jim Won Kim's cinematic travesty. Kim takes the popular "found-footage" motif and adapts it to the torture genre, where a group of snuff filmmakers kidnap four helpless victims and attach video camera's to their heads in order to record their gruesome deaths. The perspective constantly shifts between the various victims and their captives, but primarily uses the first-person perspective of those being tortured in order to force the viewer into assuming the role of the victim. In this sense, it is the viewer who is being subjected to the violent beatings and rapes that are occurring on-screen, in a sick and twisted form of sado-masochistic voyeurism that borders on pornography. THE BUTCHER is truly exploitation for exploitation's sake, with absolutely no redeeming value or social criticism to be found beneath its shocking exterior. Although the marketing sells the film as an ultra-violent bloodbath, there is surprisingly little gore to be found anywhere in the picture. One girl's eye is torn out, while her husband's hand is sawed in half by a chainsaw, but outside that, the majority of the attacks occur off-screen. All that leaves is a film with only mild violence, a paper-thin plot, virtually no dialog, and an obnoxious shooting style.

Where the film does succeed is in thoroughly shocking and disgusting its audiences. The 'star' of the sadistic snuff film is a hulking brute that wears a butcher's apron and a horrifying pig mask, who slaughters his victims with a rusty chainsaw. He only speaks through grunts and squeals, and never removes his mask. The men filming the carnage are even worse, mercilessly beating their victims and mocking their pain. In the most disturbing sequence, the pig-faced killer is given a pheromone cocktail that drives him berserk and causes him to brutally rape one of the men as he watches the others slice his wife open and kill her.

It is reckless and dangerous filmmaking like this that gives opponents the weapons they need to attack the Horror genre. If THE BUTCHER had only increased the amount of gore, it may have at least held an appeal in the Asian extreme market, but the overall lack of splatter will disappoint many fans. The film still has a haunting effect on the viewer, and will not soon be forgotten despite its many flaws.

Rating: 6/10.
Gore: 7/10.

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Squirm (1976)

Jeff Lieberman, director of the notorious 80's Slasher JUST BEFORE DAWN, offers up a squeamish good time in the 1976 'Nature Runs Amok' film SQUIRM! Supposedly based on a true events, SQUIRM follows two teens as they discover the skeleton of one of their friends on a rural farm. As more bodies begin turning up, the locals realize that the recent storms have knocked down the power lines and super-charged all of the town's earthworms, effectively turning them into carnivorous killers! Although it is impossible to take the film seriously due to the comical overacting and ridiculous plot, SQUIRM is filled with plenty of gooey gags that will make your skin crawl. The most memorable scenes have worms dripping out of a shower head, more filling an entire bathtub, and a literal living room that wriggles and breathes with over three-feet of creepy crawlers. SQUIRM's inventive special effects and make-up designs were created by a young Rick Baker, who allows the worms to eat their way under their victims skin and devour a man's innards. While it's nothing more than silly B-movie fodder, SQUIRM still packs in enough laughs and chills to make it worth the watch.

Rating: 6/10.

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P. (2005)

Aaw must leave her home in the forests of Thailand in order to try and make enough money to afford her grandmother's medicine, using any means necessary. This leads her into the seedy underbelly of Bankok, where she is forced to sell her body and dance at a local bar. After being repeatedly used and abused, Aaw casts her grandmother's spells to exact revenge against those who wronged her. But when she fails to follow her grandmother's three basic rules, the magic turns against her and transforms her into a bloodthirsty demon! Paul Spurrier's dark possession tale is deeply rooted in Thai culture and superstition, bringing a unique new twist to the saturated supernatural theme. P. offers a strong moralistic undertone that revenge is never the path to righteousness, no matter how much someone has been wronged. The decisive use of color sets a clear mood for each of the exotic locations, with the lush greens of Aaw's forest home contrasted against the cold grays of the city and the strip club's saturated reds. Unlike the cliche black-haired, pale-skinned ghosts that have populated Asia's ghost films over the last decade, Aaw's alter self is a terrifying cat-like demon with piercing yellow eyes that protrude from the darkness only moments before she strikes. The weight of the film's success lies in the young actress Suangporn Jaturaphut's phenomenal performance, who shows an incredible range as she bounces between playing the innocent peasant girl, a wild seductress, and ultimately a fearsome killer. As frightening as it is well-made, P. is one of the scariest films to come out of Thailand since SHUTTER!

Rating: 8/10.

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Dorm (2006)

DORM is a spine-tingling character-driven drama that serves as Thailand's answer to WHISPERING CORRIDORS or THE DEVIL'S BACKBONE. It follows a 7th grade boy who is admitted into a boarding school by his parents, where he receives a less than amiable welcome by the other students and teachers. After befriending another lonely boy, he soon comes to find out that his new friend is actually the ghost of a young boy that had drowned years earlier. With no gore and few shocks, DORM spends most of its time developing a true suspense through the children's chilling ghost stories and the subtle techniques used to imply the presence of the entities haunting the school's empty hallways. The cast is filled with many talented young actors, but it is Chalee Trairat's incredible performance as the misfit Chatree that immediately draws the audience into his loneliness and anger, showing an honest character progression on-screen as he learns selflessness and regard for others. Songyos Sugmakanan delivers a strong coming of age story that is both sad at times and heart-warming at others. Along with the help of cinematographer Niramon Ross (SHUTTER), Sugmakanan has created a beautiful and elegantly-shot film, using a cool color palette of sickly greens to strengthen the eerie and unsettling mood. Though comparisons to THE DEVIL'S BACKBONE are inevitable, DORM tells its own unique story to become one of the best ghost tales Thailand has to offer.

Rating: 8/10.

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Forbidden World (1982)

An intergalactic mercenary is brought to a remote desert world to aid researchers in capturing a an escaped specimen with a constantly-evolving form -- a metamorph. Roger Corman churns out another gruesome Sci-Fi monster movie in the wake of Ridley Scott's 1979 classic ALIEN. FORBIDDEN WORLD makes no attempt to hide the fact that it is a hurried rip-off -- though ALIEN, itself, is an amalgamation of both QUEEN OF BLOOD and PLANET OF THE VAMPIRES. The working-class characters and imitative plot mechanisms are constant reminders of this, but it is the cheap bastardization of H.R. Giger's creature design that is the most obvious. Where the film does begin to differentiate itself is in its sexually-charged characters and gratuitous gore, two traits that would also be exploited in other similarly sleazy ALIEN clones like William Malone's CREATURE or the British INSEMINOID. Despite its penniless production, Corman's crew comes through with more impressive set work, special effect, and miniatures that give the film an incredible scale and a believable futuristic environment. Allan Holzman has accomplished what he set out to achieve by ramping up the bloody carnage and creating a fun and exciting creature feature for 80's Sci-Fi fans to enjoy!

Rating: 7/10.
Gore: 6/10.

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Slaughter Night (2006)

Kristel and her friends travel to Belgium to recover her father's last manuscript, but what she finds instead are an old music box and an Ouija board that belonged to the satanic murderer that her father had become obsessed with. After accepting an invitation from a friendly curator to visit the mine where the demonic Andries Martiens was sentenced to death, the group quickly becomes trapped before the killer's evil spirit begins possessing their souls and lopping off their heads! SLAUGHTER NIGHT is an excellent throwback to 80's gore classics like NIGHT OF THE DEMONS or Lamberto Bava's Italian counterpart DEMONS, filled with bloody violence, terrifying make-up, and a ton of gruesome splatter. It sets an uneasy and claustrophobic vibe within the close quarters of the abandoned mine, which adds a genuine creepiness to the already horrific killings. The slow build allows the audience to identify with the characters, who become more than just average teen stereotypes. Once the action begins, SLAUGHTER NIGHT becomes an unstoppable wave of blood, guts, and missing heads. Directors Frank von Geloven and Edwin Visser make a huge misstep in the digital filming and choppy editing of the action sequences, which are both disorienting and messily shot. Overall, it is a fun and gory ride that would make for a perfect double-bill with either THE HAZING or THE CONVENT!

Rating: 7/10.
Gore: 7/10.

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Bloody Reunion (2006)

Director Dae-wung Lim brings a touch of classic American Horror to Korean cinema in this dark and ultra-violent Slasher film! BLOODY REUNION follows a group of old classmates that return to the home of their sickly grade-school teacher for one final visit with her before she dies. Their trip sparks bitter memories and past rivalries, but are these hurtful childhood experiences enough to drive one of them to kill? Each of the standard conventions of the Slasher sub-genre have been adapted into this unique hybrid, including a number of blood-splattered deaths and a creepy killer in a blank bunny mask. BLOODY REUNION also draws influence from other Korean revenge thrillers like OLDBOY, where the victims are brutally punished for innocent and seemingly insignificant indiscretions that they committed when they were younger. The characters and mood of the picture travel on a slow downward spiral as a series of flashbacks reveal that their "beloved" Miss Park was actually quite cruel to each of her students, giving each of them a motive to kill while driving the tension and suspense. With an ample amount of gore, solid performances, and a surprising twist ending, BLOODY REUNION is a smart and engaging Slasher that lives up to its title!

Rating: 7/10.
Gore: 6/10.

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The House with Laughing Windows (1976)

The patrons of a small Italian church hire a talented artist to restore a fresco of their patron saint, but in doing so he also uncovers many of the town's dark secrets behind its creation. Pupi Avati's THE HOUSE WITH LAUGHING WINDOWS is a stylish and tasteful thriller that breaks away from the standard conventions of the Italian Giallo, relying on the suspense and mystery of the intricately designed plot over the shocking gore and violent murders that frequented similar films in the genre. It also avoids the often contrived and convoluted story elements found in many weaker Gialli of the time. Lino Capolicchio is very convincing as the apprehensive lead that is drawn closer to the truth as more of the villagers are found murdered. The twisted religious subtext adds an additional level of fright to the picture that plays on the small town convictions of an isolated community. What sets the film apart more than anything else are the beautifully photographed authentic Northern Italian locales that set a dreary and atmospheric backdrop to the slowly unraveling plot. THE HOUSE WITH THE LAUGHING WINDOWS is one of the stronger entries in the strictly-Italian sub-genre that has been commonly overlooked by Giallo fans.

Rating: 8/10.

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Watchers Reborn (1998)

This fourth and final film in the WATCHERS series does not stray far from the proven formula, teaming a streetwise detective up with a highly-intelligent golden retriever in order to try and track down the monstrous beast that killed his partner. Genre fans will instantly recognize Mark Hamill in the lead role, who is joined by NIGHTMARE ON ELM STREET 4's Lisa Wilcox and the iconic Kane Hodder. WATCHERS REBORN is by far the goriest of any of the films, featuring many gruesome deaths and a number of torn-out eyeballs. John Carl Buechler steps in as both the director and creature designer, and keeps the action moving along despite the rather inane plot. His redesign of The Outsider is more vicious, more violent, and more frightening than any of the previous models. While it brings nothing new to the table, WATCHERS REBORN is a bloody little creature feature that makes for more mindless entertainment.

Rating: 6/10.
Gore: 6/10.

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The Rocky Horror Picture Show (1975)

THE ROCKY HORROR PICTURE SHOW. Few films have earned such an enormous cult-following as this campy classic from 1975. Set to an assortment of electrifying rock numbers and huge power ballads, ROCKY HORROR is an operatic Horror Comedy that is unlike anything else in the cinematic landscape. No stage could have contained this crazed adaptation, and few films since have reached the same level of energy and insanity! Upon being stranded on the side of the road, the newly-engaged Brad and Janet are invited to stay the night in a manic mansion where Rocky is celebrating his first birthday. You see, the diabolical Dr. Frank-N-Furter has just created the perfect man, and everyone is celebrating by putting on an elaborate stage show! To reveal any more would spoil much of the fun, as ROCKY HORROR is simply a spectacle that must been seen to believe. The film puts together a strange and unusual collection of characters, featuring Susan Sarandon and Barry Bostwick as the straight-laced lovers that are caught in the middle of Dr. Frank-N-Furter's sexual experiments and all of the confused excitement. Tim Curry's transgendered Transylvanian host is as iconic and memorable as Dracula or The Wolf Man, and his ghoulishly over-the-top character has become instantly recognizable in cultures around the globe. Having obviously been influenced by the stage productions of the earlier plays, ROCKY HORROR incorporates many garish costumes and wildly exotic sets that perfectly fit the on-screen absurdity. An astounding 35-years after its initial release, THE ROCKY HORROR PICTURE SHOW continues to shock and entertain audiences at midnite movie houses spanning the world over, making it the single longest-running theatrical release of all-time, and quite possibly the most enjoyable!

Rating: 10/10.

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Nightmare Alley (2010)

Horror host Scarlet Fry presents this blood-splattered omnibus feature that flows from the same vein as the classic EC Comics of the 1940's and 50's. The film is broken into seven 10-minute vignettes, with each story being more gruesome and less interesting than the last. A Fistfull of Innards has a greedy outlaw gored by his two undead partners after killing them over a golden meteor. Zeke must kidnap and kill hot young teens in order to appease the evil Mexican Hell Rat which has possessed his soul in Rebellion. In Death Chat, a cheating husband gets what he axed for when he meets up with a stranger he met online for a casual encounter. A tubby neighbor is invited over for a special dinner after the sexy girl upstairs murders her jealous husband in Meat. Waiting for the bus was never seemed so bad until a punk rocker brutally kills a gay admirer before stealing his porn in Closet Case. Next, a failing artist finds inspiration in his dead wife's carcass after shutting her up with a knife in The Great Damone. Finally, Jack the Ripper is back to kill again when a traveling exhibit stops into town in Slash of the Blade. Each of the shorts bear some resemblance to more successful films, but despite all of the bad acting and amateur filmmaking, NIGHTMARE ALLEY is actually a fun watch with several gooey instances of low-buget gore. A grainy overlay is used to give the film a vintage look and feel that does a good job at masking the hand-held camerawork. The poorly-framed stories are typically shaped around a single centerpiece of splatter, but lack any proper structure or true irony. Scarlet Fry's third feature film is better than it rightfully deserves to be, and is sure to appeal to the hard Gore fanbase.

Rating: 4/10.
Entertainment: 6/10.
Gore: 7/10.

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Antichrist (2009)

A psycho-therapist attempts to aid his wife through the grieving process after the couple loses their only child to a freak accident. As her condition worsens, he attempts more radical treatments in order to have her to face her fears by removing her to their isolated cabin in the woods. It is here that he discovers his wife has become obsessed with witchcraft during her thesis research, which sparks a dramatic shift in her attitude and causes her to lash out at her husband with a frightening ferocity. Director Lars von Trier delivers this brutal and shocking Arthouse picture that will have viewers on the edge of their seats! ANTICHRIST's experimental story structure can be a bit uncertain in the beginning, but as the plot unfolds, each of the perceived events from early on become integral elements that build into the twisted and horrifying revelation in the end. A dark, suffocating, and oppressive mood is developed through the turbulent emotional vortex in which the couple finds themselves caught thanks to a pair of incredible performances by Academy Award® nominee Willem Defoe and Charlotte Gainsbourg. As the plot hits its breaking point just after the hour mark, the slow and methodical character development gives way to scenes of nauseating gore, savage sexuality, and profoundly disturbing psychological terror that are sure to leave an immediate and lasting impression on audiences in the same way that MARTYRS had done in 2008. Lars von Trier has created a masterful visual and mental mind-warp that will leave some breathless and others completely dumbfounded while establishing ANTICHRIST as a modern classic.

Rating: 9/10.
Gore: 8/10.

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Vampire Circus (1972)

Hammer films had always been known for their bold productions and atmospheric Gothic settings, but as the market began to shift towards graphic, sexually charged thrillers in the late 60's and early 70's thanks to prolific European filmmakers like Jesus Franco and Jean Rollin, the house of horrors also began catering towards these new trends. One of the last films to be released by the studio that kept with the traditional form was 1972's VAMPIRE CIRCUS, which also proved to be one of the most evocative and original vampire tales of its time. The film's vibrant color palette and beautifully-crafted set pieces recall Hammer's HORROR OF DRACULA, while the creepy carnival backdrop brings to mind Tod Browning's 1932 classic FREAKS.

Taking place in 19th century Europe, VAMPIRE CIRCUS begins with a vampire lord being staked through the heart by four nobles after he makes one of their wives his newest bride. Years later, the village has been ravished by the Black Death, and its citizens now live in fear within the quarantined city limits. A mysterious traveling carnival suddenly appears one morning, and begins to lift the failing spirits of the townspeople. What they don't know is that the exotic animals aren't the only ones with fangs at this colorful sideshow attraction. The undead performers drain the town's children of their blood as payment for the sins of their fathers, and use it to revive their fallen lord.

Unlike Hammer favorite Terence Fisher, who benefited from a long and successful career before making CURSE OF FRANKENSTEIN, newcomer Robert Young had never directed a feature film prior to his work on VAMPIRE CIRCUS, and yet his film retains all of the same stunning cinematography and unparalleled visual style as many of the studio's best. Young introduces a series of seamless transitions that allow the shape-shifting vampires to change from their human forms into bats, tigers, and jaguars. Many familiar faces populate the cast, including TASTE THE BLOOD OF DRACULA's Anthony Higgins as the seductive vampire count Emil, and Adrienne Corri playing his sexy young lover that leads the twisted carnival. Their enchantment over the town is dispelled by two of the surviving teens in a climactic showdown that begins in the school chapel then takes them deep into the vampires' lair. Hammer would produce far fewer releases in the years to follow, but along with TWINS OF EVIL and THE LEGEND OF THE 7 GOLDEN VAMPIRES, the VAMPIRE CIRCUS is one of the studio's last great pictures before closing its doors in 1979.

Rating: 9/10.

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Press Release: "I Saw The Devil" Release Info

Toronto – September 15, 2010 – The Wagner/Cuban Company's Magnet Releasing, genre arm of Magnolia Pictures announced today that it has acquired North American rights to KIM Jeewoon’s (The Good, The Bad and The Weird and A Tale of Two Sisters) I SAW THE DEVIL at the Toronto International Film Festival. Shockingly violent and stunningly accomplished, I SAW THE DEVIL transcends the police procedural, pushing the boundaries of extreme Asian cinema in ways that will surprise and thrill fans of the genre.

The Good, the Bad and the Weird’s Lee Byung-hyun stars as Dae-hoon, a special agent whose pregnant wife becomes the latest victim of a disturbed and brutal serial killer, captivatingly played by Oldboy’s Choi Min-sik. Vowing revenge, Dae-hoon blurs the lines between hunter and hunted and good and evil, eventually becoming a monster himself in his twisted pursuit of revenge.

"I SAW THE DEVIL is one of the most riveting and unrelenting films I've ever seen. It is an undisputable masterpiece," said Magnet SVP Tom Quinn. "Unparalleled in it's brutality, Kim Jeewoon deftly takes the serial killer thriller to new, profoundly disturbing heights. It's hard to imagine curating a genre label that didn't include this remarkable achievement."

The deal was negotiated by Magnet's Quinn with Youngjoo Suh from Finecut. Magnet will release I SAW THE DEVIL theatrically in first quarter 2011.

About Magnet Releasing

Magnet is the genre arm of Magnolia Pictures (, specializing in films from the vanguard of horror, action, comedy and Asian cinema, and is home to such films as Tomas Alfredson’s Let the Right One In, Neil Marshall’s sword and sandals bloodbath Centurion, John Woo’s historical epic Red Cliff, Ty West’s terrifying The House of the Devil, Tony Jaa’s Ong Bak trilogy, Nicholas Winding Refn’s Bronson, the Spanish horror film [Rec]2, and George A. Romero’s Survival of the Dead. Coming soon is Gareth Edwards’ highly anticipated sci-fi masterpiece Monsters, coming to theaters in October, and Quentin Dupieux’s Rubber, featuring a killer tire on a murder spree. Magnolia Pictures is the theatrical and home entertainment distribution arm of the Wagner/Cuban Companies, a vertically integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also include the Landmark Theatres chain, the production company 2929 Productions, and high-definition cable network HDNet. Read The Full Post HERE!

Garden of the Dead (1974)

GARDEN OF THE DEAD may well be one of the most unnecessary zombie films ever made. It begins with six convicts sniffing formaldehyde fumes for a quick buzz. That night, they plan a daring escape, only to be gunned down in the local graveyard. Not long after, their corpses return from the grave to seek vengeance against their former captors, using an assortment of gardening tools to strike down their victims. If the viewer is able to get past the preposterous premise, there is still no way of overlooking the poor acting, choppy editing, or laughable zombie characters. In between the surprisingly vicious attacks, the zombies must "refuel" by immersing themselves in more formaldehyde (while laughing and grunting no less), but once they have loaded up on their drug of choice, it is back to running through the prison yards and beating people to death with their tools. GARDEN's zombies are quite unlike any other undead characters of the time, as they are fast-moving, emotive, and capable of speech. When they are defeated just before the hour mark, the abrupt ending comes as a complete shock. As a penniless drive-in feature, the creepy make-up designs and misty set dressings reach for greatness, but the film ultimately fails as a whole.

Rating: 5/10.

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Press Release: "Best Worst Movie" Release Info


Award-Winning, Critically-Acclaimed Documentary about the “Worst Movie Ever Made”
Available on Multiple Distribution Platforms Beginning November 16

New York, NY – September 15, 2010 - How many people can claim they starred in the worst movie ever? Michael Paul Stephenson will forever be known as the screaming, whining, ten year-old who saves his family by urinating on their dinner. Today, he is the director and producer of BEST WORST MOVIE, a critically-acclaimed documentary inspired by his role in what has been crowned the worst movie of all time: TROLL 2.
New Video, a leading independent film and TV distributor, announced today that BEST WORST MOVIE will be available on Tuesday, November 16, via DVD and digital platforms. A film festival favorite in 2009 and currently playing in theaters nationwide, BEST WORST MOVIE will be released under New Video’s Docurama Films brand.
In this hilarious and heartfelt story about the strange nature of celebrity, a sunny Alabama dentist and a self-deluded Italian filmmaker struggle to come to grips with their role in the worst movie ever made. The result is a tender offbeat journey that pays homage to lovers of bad movies and the people who make them, while investigating a deeper story about the catharsis of redemption and the humanity that exists in making even the worst movie ever made.
The DVD includes more than an hour of deleted scenes and interviews; fan contributions, including music videos and mash-up trailers; Filmmaker Q&A with Creative Screenwriting Magazine, and a provocative message from TROLL 2’s Goblin Queen, Deborah Reed.

The DVD and digital release of BEST WORST MOVIE closely follows the Blu-ray release of TROLL 2 in October from MGM.

BEST WORST MOVIE is written, directed and produced by Michael Paul Stephenson; produced by Lindsay Stephenson, Brad Klopman and Jim Klopman.

About New Video
New Video is the world’s leading independent Blu-ray, DVD and digital distributor specializing in cutting-edge documentaries, independent films, cult hits, collectible television series, sports and classic kids programming. Home to some of the most prestigious names in entertainment, including A&E®, HISTORY™, Lifetime®, Major League Baseball®, Major League Soccer®, Scholastic Storybook Treasures™, Arthouse Films, Docurama Films®, NEWVIDEO NYC, and Flatiron Film Company, New Video showcases over 5,000 titles in its catalog. As the digital distributor arm, New Video Digital provides over 11,000 hours of film and television programming from more than 120 trusted brands to download and streaming platforms including iTunes, Hulu, Netflix, Xbox, Sony PlayStation and Amazon. Since 1990, the company’s mission has been to further the goal of providing audiences with top-notch special interest content.

For more information, please contact:

Sommer Hixson
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Watchers 2 (1990)

WATCHERS 2 is an unrelated sequel featuring another Oxcom unit and its clever canine companion that are released from an experimental laboratory by a group of animal rights activists. The dog links up with marine facing a court-martial, and the two attempt to outrun the military officials and the killer beast that will stop at nothing to destroy its target. Now under the guidance of Roger Corman's Concorde Pictures, the series immediately moves away from the lighter tone of the original in exchange for a more adult theme, bloodier murders, and a darker mood. B-movie queen Tracy Scoggins joins THE BEASTMASTER's Marc Singer as the film's ineffectual leads, who are each out-acted by their lovable four-legged co-star. The Oxcom (now called an "Outsider") no longer hides in the shadows, but openly attacks its victims in plain sight, which unfortunately reveals the creature's cheap rubbery design. Even with its inherent cheesiness, WATCHERS 2 packs in just enough creepy monster mayhem and gore to make it an entertaining (if not trashy) sequel.

Rating: 6/10.
Gore: 4/10.

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Cut (2000)

Molly Ringwald stars as an aged actress that is hired by a group of film school students to complete an unfinished film that she had starred in twelve years earlier, one which bears a terrible curse. Ever since the original director was killed by an embittered stuntman, anyone that has come in contact with the last remaining print has suffered a horrible fate. Unafraid of the alleged "curse," the students set out to begin filming, but it isn't long before the killer returns to claim his latest batch of victims! Trailing shortly behind SCREAM, CUT is a spoof of a spoof with moments of cleverness but an all-too-familiar plot. Both the shooting style and self-reflective tone share most in common with the Post-Modern Slashers of the late-90's, while the punctuated music cues, inventive murders, and supernatural killer pool elements together from earlier cycle of films like FRIDAY THE 13th, HALLOWEEN, and their many sequels. Scarman's simple latex mask and jumpsuit also add to the 80's nostalgia imbued within the picture, and several of the deaths are extremely gruesome. CUT is too bland to be memorable, but it offers just enough suspense and bloodshed to make it worth the watch.

Rating: 6/10.
Gore: 5/10.

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Piranha 3-D (2010)

In this second remake to Joe Dante's 1978 camp classic, a breed of carnivorous killer fish are unleashed from a subterranean cave system after an earthquake creates a giant fissure in Lake Victoria. They quickly set out to ruin everyone's good time as they mow through hundreds of drunken co-eds that are out on the water for Spring break.

If one was to assess Alexandre Aja's work based solely on his latest remake, he could be expected to have a long and lucrative career filming made-for-TV garbage for years to come. PIRANHA 3-D takes the terms "gratuitous" and "excessive" to extreme new levels, putting on a spectacular display of gore and nudity unlike any other recent theatrical release without providing any substance or contextualization to back it up. Instead, audiences are subjected to mind-numbing characters and useless subplots that only serve as set-ups for additional nude scenes that are both unnecessary and unappreciated (for once). It is actually angering to have over eight-minutes worth of a costly theater ticket wasted on a softcore lesbian scene that required nearly half-an-hour of poor acting and otherwise worthless plotting to establish. It is tough to say who is responsible for the many recognizable errors, since Aja is typically a strong presence in the genre. The countless problems that riddle the entire picture just make it impossible to enjoy even as a cheesy B-movie. Unlike the impressive work done in other 3-D releases like MY BLOODY VALENTINE or AVATAR, PIRANHA 3-D makes very little use of the cutting-edge technology whatsoever, falling flat on screen when it isn't disorienting and nauseating audiences. Its editing is atrocious, many times setting up a gory gag without following through with any generated effects from the partygoers. This is most noticeable when a nude para-glider is dunked in the water, only to have her lower extremities devoured by the fish. When she is raised back up, all that remains is her bloodied torso, but not a single person comments or shows even the faintest reaction. Jerry O'Connell plays into his drug- and sex-crazed character far too convincingly, taking what could have been a fun and silly performance and turning himself in to an annoying and hated stereotype. PIRANHA also sells itself as a Horror Comedy, but most of the trashy humor and attempted gross-outs are unable to earn a laugh. Obviously, in an intentionally over-the-top picture such as this, nitpicking minor failures in the logic, plot, or acting seems futile, but this kind of sloppy filmmaking and juvenile scripting is representative of the product as a whole. What does come as a surprise is that the computerization of the fish, which most people feared would be the film's greatest disappointment, actually gives them the character and ferocity that had been missing in the earlier entries.

There is only one area of the film that truly succeeds at all, and that is in the incredible amount of gore that it brings to the table. With the award-winning special effects team of Howard Berger and Greg Nicotero creating each of the bloody deaths, gore fans will not be disappointed in the least. For all of the painful dialog and meaningless storytelling leading up to it, the final meltdown where several hundred feet of lake water turns red with screaming college students is worth the price of admission alone. Missing limbs, chewed-off faces, decapitations; PIRANHA pulls no punches in splattering the screen with gallon upon gallon of blood. With a body count that easily stretches in to the hundreds, PIRANHA can certainly claim to be one of the most gruesome Horror films to reach theaters in years.

Despite an overwhelming response from many genre fans during its theatrical release, PIRANHA 3-D is nothing more than the poorly made shocker that the trailer made it out to be. Rushing out to theaters in order to experience the film in 3-D will only disappoint movie-goers, and this one is better left to DVD.

Rating: 5/10.
Gore: 9/10.

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Night of the Seagulls (1975)

A small fishing community's hideous secret is revealed when a visiting doctor and his wife discover that the villagers have been sacrificing the town's virgins to the Knights Templar, who threaten to destroy everything in their path if they are not appeased. NIGHT OF THE SEAGULLS is the strongest of the three installments following TOMBS OF THE BLIND DEAD in Armando de Ossorio's famed Horror series. The Lovecraftian lore that is introduced in this episode makes for an exciting new twist in the Templar's long history. While there is a noticeable lack of gore compared to the earlier entries, NIGHT more than makes up for it with its lavish sets, gorgeous cinematography, and heightened suspense. Even the costuming used for the decrepit Knights shows a remarkable difference. On top of everything else, the film features a collection of haunting sound effects that deepen the intense mood set by the Ossorio's dreary visuals. Although the director never received the chance to remake the series as he had originally planned to do, he did manage to end it with a worthy send-off to one of the most memorable zombie epics of all-time.

Rating: 8/10.

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The Ghost Galleon (1974)

The third in Armando de Ossorio's BLIND DEAD series, THE GHOST GALLEON has two beautiful young models run afoul of a phantom ship on the open sea that houses the corpses of the Knights Templar. When the girls fail to report back to shore, their sponsors set out to find them, only to become the Templar's next victims! As with the prior two films, Ossorio shows an incredible talent when it comes to establishing an eerie and ominous mood. The galleon's haunted hull is drenched in a nightmarish mist, which shrouds the ship from being discovered and bathes the sets in lurid greens and blues. Once night sets in, the living dead return from their coffins to stalk their prey by sound. These silent, withered corpses are as frightening as ever in their bloodstained cloaks, this time sans their undead steeds. Unfortunately, the repetitive plot is left with nowhere to go once each of the characters have entered the ship. One person will inevitably stray from the group and be killed off by the ghouls, which is followed by effortless filler before the next person will go in search of their missing friend (only to suffer the same fate). In its fully uncut form, the few deaths include a bloody decapitation and other violent attacks. THE GHOST GALLEON is an interesting idea that is simply unable to outdo the previous films, but its brooding atmosphere still makes it a welcome addition to the series.

Rating: 6/10.
Gore: 4/10.

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Feast (2005)

FEAST does for the monster movie what SCREAM did for the Slasher by creating an entirely self-aware Horror movie that cleverly plays against each of the genre conventions in an insanely bloody and wildly entertaining gorefest! The film begins with the familiar NIGHT OF THE LIVING DEAD scenario, where a bar full of miscreants must board up the windows and lock the doors to avoid being eaten by a pack of ravenous creatures. From here, Project Greenlight winner John Gulager drowns the picture in gruesome splatter and injects it with the sharp humor provided by the writing team of Marcus Dunstan and Patrick Melton. When the bar patrons aren't having their limbs torn off or their guts wrenched from their torsos, they are being blasted with fountains of blood, bile, or worse. FEAST had the potential to become an instant classic, but unfortunately it never manages to break free from its cheap B-movie roots. Though the characters are extreme exaggerations of Horror movie stereotypes, they are also completely one-sided and rarely intelligent. After an incredible opening, the meandering plot fails to achieve the same level of excitement and intensity of the first act. Still, there are many brilliant moments found throughout the film that are as shocking as they are unexpected. FEAST sets the table with plenty of laughs, buckets of blood, and gooey gross-outs, quickly making it a cult-favorite amongst fans.

Rating: 8/10.
Entertainment: 10/10.
Gore: 8/10.

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Watchers (1988)

The military has devised a pair of biological weapons to use in tactical assaults against the enemy: one, a super-intelligent canine unit used to locate and infiltrate the enemy, and the other, a mutant beast sent to seek and destroy the dog any anyone in its proximity. When one of the dogs escapes and aligns itself with a high school student, it is up to a trained assassin to find the two and stop the killer Oxcom unit! WATCHERS is a fun, kid-friendly creature-feature from the late-80's starring Corey Haim as the film's eccentric teenager that is constantly on the run. It manages to strike an even balance between the campy humor involving the clever canine and the scarier moments when the Oxcom attacks from just off-camera in a series of bloodless kills. Most of the film's suspense is built on the final reveal of the creature when it catches up with Travis and Furface in the end, but the short lived battle is anti-climactic. Michael Ironside makes an appearance as the ruthless N.S.O. agent, living up to the typically sadistic villains he has portrayed in other films. Along with its sequels, WATCHERS makes for an entertaining monster movie with plenty of safe thrills!

Rating: 7/10.

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The Burrowers (2008)

With one family brutally slain and another missing, four men set off on horseback to track the Indians that they believe are responsible for the murders, but their trek across the barren plains will pit them against an unseen enemy lurking beneath their feet. Writer / Director J.T. Petty unleashes this highly original and thrilling creature feature set in the Old West, which features stunning cinematography and equally impressive performances. Petty creates an authentic period piece through his careful scripting, the characters' individual cadences, costuming, and a washed out color palette filled with mild earth tones. THE BURROWERS also builds its own unique mythology surrounding the underground dwellers that mixes Indian folklore with the horrors of Westward Expansion. These twisted creatures are hinted at frequently but kept just out of sight long enough to build a rising tension that keeps the film moving at an excellent pace while maintaining a plateau of suspense. When the Burrowers are finally revealed, their computerized design is hardly noticeable thanks to a clean design and key lighting. THE BURROWERS is a rare example of pure originality that is not often seen in the genre, and is sure to appeal to Gothic Horror fans who can appreciate its brooding atmosphere and mood.

Rating: 9/10.

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The Guyver 2 (1994)

In order to find out the truth behind his new found powers, Sean Barker sets off to the mountains of Utah to visit an archaeological dig where sightings of the monstrous Zoanoids have been reported by the locals. The dig uncovers a derelict alien spacecraft that houses the secrets behind The Guyver and Sean's shape-shifting enemies. THE GUYVER 2 drops the silly slapstick and humor that hampered the first film in place of a darker atmosphere and mood that is much more in line with the original source material. While acting and writing only show minor improvements, the fight choreography in Steve Wang's action sequences have improved dramatically, and the deaths of the creatures are far more gruesome than before. Wang's own design crew has stepped in for Screaming Mad George, proving that they are more than competent as they produce equally stunning costuming and monster effects that rival the best Hollywood has to offer. The new Guyver suit is more lightweight and maneuverable, and allows martial artist Anthony Houk with a greater range of motion and control. Its features have also been exaggerated, with longer blades and increased muscle tone. Finally, the unique set designs for the alien craft that were created on the film's small budget are just as impressive. THE GUYVER 2 is a fast-paced and action-packed super-hero sequel that is a vast improvement over the original film.

Rating: 7/10.
Entertainment: 8/10.

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Feast 3 (2008)

FEAST 3 continues from the exact moment that the second film left off, with the last remaining survivors trapped on a rooftop while attempting to outrun the alien menace in the streets below. After a brave escape, the group takes off into the sewers to try to make their way back to the big city, but new dangers lurk in the subterranean passageways under the deserted town. FEAST 3 has all of the same failings that cluttered the last film, without the benefit of having even half as many gory deaths or sickening gross-outs. It continues to add to its list of missteps through the inadequate lighting in the sewer scenes, horribly shot action sequences, and poor pacing. Audiences can expect all of the same low-brow humor and ridiculous plotting tools with no bloody payoff whatsoever. The one hope that FEAST 3 does bring is that this will be the final film in a failing series.

Rating: 4/10.
Gore: 5/10.

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Feast 2 (2008)

What could have been the next big Horror franchise after the success of the first film takes a turn for the worst in two back-to-back sequels from Project Greenlight winner John Gulager. FEAST 2 finds a gang of badass biker chicks arriving into a deserted town that has been destroyed by rampaging monsters. The group quickly aligns themselves with the town's last remaining survivors, a motley assortment of quirky characters that each have their own best interests in mind. Together, they try to capture the police station and collect the weapons they need in order to escape the city, but with hundreds of the fanged and sex-crazed beasts still running around, it is going to take both brilliant planning to make it out alive!

FEAST received a remarkable reception from Horror fans for many reasons. On a superficial level, it was a balls-out gorefest with an incredible amount of splatter and many disgusting gross-outs. On a more interesting note, it managed to completely betray genre conventions and turn them on their heads, making for some of the most unexpected moments in recent Horror. The one monster movie tradition that the film did uphold was the idea of keeping the monsters hidden until the final reveal in the end. Many attributed the film's success to Project Greenlight's newest protege, John Gulager, but it was quickly revealed that FEAST was the product of many outside contributors that shaped the final outcome.

What, then, would happen when Gulager was left to his own devices, free from any external input from watchful producers and studio heads? FEAST 2 quickly answers that question.

Unlike in the previous installment, which occurred in a single night in a confined location, FEAST 2 is shot primarily during the daytime in an open cityscape. This immediately lessens the effect of having a creature suddenly appear out of the darkness, and dramatically reduces any chances of creating suspense. What is worse, having the monsters run rampant in broad daylight reveals their cheap, rubbery designs and exposes the low budget of the picture. The final third of the film is shot from a rooftop set overlooking the street below, but the painfully artificial setting looks completely unnatural due to a series of poorly assembled greenscreening jobs. To add to this, the cartoony computerization of both the blood and gore are further signs of a careless production.

In an attempt to outdo the politically-incorrect kills of the first film, FEAST 2 not only kills a crippled boy, but has one of the creatures eat a baby and has a little person ripped to shreds for pure shock value. These scenes aren't without their humor, but they serve no other purpose than to upset the viewer. Lacking any other substance or worth of any kind, FEAST 2 strives to increase the amount of blood and other bodily fluids that can be used to gross-out its audiences. Nearly every gag involves some form of scatological humor, including a particularly disgusting autopsy scene that drenches the characters in a geyser of alien vomit, feces, and semen.

As if it weren't enough for the plot to be completely pointless, the characters in FEAST 2 serve absolutely no purpose whatsoever. There is no progression shown for any of the characters, and the ones that do speak spew garbage from their mouths. The only forgivable reason for having two of the biker chicks present at all is for them strip completely nude for the entire third act of the film. Where FEAST successfully surprised audiences with its unexpected twists, the unexpected has become expected in both sequels. If a character is introduced as being any sort of hero, the viewer knows he or she will be killed off almost instantly. Rather than turning the tables once more and counteracting this trend that was set in the original FEAST, Gulager and his writing team fall back on the same exact devices, and do not introduce anything even remotely new or creative.

Despite all of its inherent flaws, there is an audience for the FEAST sequels. Horror fans that can appreciate an absurd amount of gratuitous gore and pointless nudity will love this mindless piece of self-indulgent trash cinema, but many fans of the original will be sorely disappointed with the film's sheer stupidity.

Rating: 5/10.
Gore: 8/10.

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The Guyver (1991)

A young martial artist fuses with a space-age armor that has been stolen from a secret research facility, the Chronos Corporation, which will stop at nothing to get it back. "The Guyver" must now face off against the Zoanoids, half-human creatures controlled by Chronos, in order to stop the company from recovering the Guyver unit and destroying mankind! Straight from the pages of the popular manga by Yoshiki Takaya comes THE GUYVER, a live-action comic book that offers incredible special effects and make-up work by long-time Brian Yuzna collaborator Screaming Mad George. From the living body armor worn by The Guyver to his reptilian adversaries, THE GUYVER produces some of George's most unique and ambitious costume designs. Unfortunately, this is the only area where the film succeeds. Between the poor scripting and laughable performances, THE GUYVER crosses over from campy B-movie fun into straight cheese. Its attempts at incorporating humor into the dialog fail on every level. Not even the brief cameos by Sci-Fi icons Jeffrey Combs and Mark Hamill are able to save the picture. David Gale is the one person to put in an enjoyable performance as the evil Zoalord, recreating the same over-the-top character he played in RE-ANIMATOR and SYNGENOR. While it comes off as being nothing more than an extended television episode of bad rubber monster mayhem, the special effects in the film are enough to warrant at least a single viewing.

Rating: 6/10.
Entertainment: 8/10.

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Mommie Dearest (1981)

Faye Dunaway stars as the one-and-only Joan Crawford in this biting biographical drama based on the shocking tell-all book by daughter Christina Crawford. The film documents the crazed and often barbaric behavior that the fading star exhibited on her two adopted children until her death in 1977. MOMMIE DEAREST is primarily told from Christina's perspective, which paints her mother in a very negative light. Based on other stories that have surfaced in the years following her death, Christina's depiction may not have been far from the truth. Apart from the constant psychological abuse that Crawford imposed on the children, the film's most notorious scene depicts a particularly nasty moment where Joan has a nervous breakdown and viciously beats her daughter with a wire clothes hanger for not hanging her dresses properly. Although it nearly ruined her career, Faye Dunaway is deliciously over-the-top as the conceited and egotistical Queen of Hollywood, with Diana Scarwid putting in a strong performance as well as Christina Crawford. MOMMIE DEAREST is as horrifying as it is oddly entertaining.

Rating: 8/10.

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Babysitter Wanted (2008)

Angie is a poor college student takes on a babysitting gig at a remote farmhouse in order to pay for her school expenses. What starts as a quiet evening turns into the night from hell when she begins receiving suspicious phone calls from a mysterious stalker. BABYSITTER WANTED is a strong independent Slasher film that suffers tremendously from having been released in the same year as HOUSE OF THE DEVIL, considering that they are nearly shot-for-shot the exact same film. From the basic plotting and devilish twist to the vintage 80's aesthetic, it is frightening how similar the two truly are. Despite the fact, BABYSITTER WANTED shares many of the same strengths as Ti West's film. Jonas Barnes and Michael Manasseri have successfully created a spooky atmosphere and oppressive mood that builds up to what eventually becomes a brutal and graphic Slasher. The babysitting theme calls back to other genre classics like BLACK CHRISTMAS or WHEN A STRANGER CALLS, where common household noises and the fear of being alone tap into universal terrors the audience can relate to. Just past the half-way point, the entire direction of the film shifts, and girls are found hung, gutted, and dismembered as Angie struggles to survive. Sarah Thompson is excellent in the role of the sweet and unassuming girl next door, and brings a sincerity and authenticity to her performance. If BABYSITTER WANTED had only been released a year earlier, it may have had a much larger impact on Horror audiences, but that should not keep anyone from picking up this dark and mean-spirited film.

Rating: 7/10.

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Mad Max Beyond Thunderdome (1985)

Mad Max's third adventure takes him through a deadly gladiator's arena before he is outcast into the desert for defying the mighty warlord of Bartertown. Here, he is taken in by a lost city of children that revere him as their god and savior, and it is up to Max to lead his followers out of the desert and deliver them to safety. BEYOND THUNDERDOME offers an enormous scale and an incredible post-apocalyptic setting, one that far exceeds that of even THE ROAD WARRIOR. The story structure is nearly identical to the last film, where Max serves as the only means of salvation for an isolated and vulnerable group of survivors. The Thunderdome from which the film derives its title features one of the most ambitious action sequences in the series, pitting Max against the colossal warrior Blaster in a battle to the death, complete with rusted chainsaws and a monstrous metal cage. While George Miller brings the same fun characters, stunning cinematography, and epic adventure to the series closer, BEYOND THUNDERDOME just isn't as fresh or exciting as either of the previous entries, and lacks the high-powered energy and over-the-top action that made THE ROAD WARRIOR such a smashing success. It is still an enjoyable sequel for fans of the series, and a strong futuristic fantasy.

Rating: 8/10.

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Jason and the Argonauts (1963)

The mighty son of a slain king returns to reclaim his throne, but he must first assemble a team of warriors and set off to a far away land in order to find the golden fleece which will free his land from tyranny. Set in the mythical days of Ancient Rome, JASON AND THE ARGONAUTS is an epic fantasy adventure that features the legendary heroes Jason of Thessaly and Hercules as well as an array of stunning creature effects designed by Ray Harryhausen. Jason and his men must face off against a pair of winged harpies, the dreaded multi-headed hydra, and an army of skeletons in a climactic battle that brings back the impressive fight choreography found in THE 7TH VOYAGE OF SINBAD. The film's enormous scale and incredible set work would set the standard for all other fantasy adventures to follow, most directly influencing Harryhausen's later work in CLASH OF THE TITANS. One area where the film does stagger is in a few of the weaker performances, but these are easily overshadowed by the ambitious special effects and exciting action sequences. JASON AND THE ARGONAUTS is a must-see for every fantasy and adventure fan!

Rating: 9/10.

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