SNUFF BOX: THE COMPLETE SERIES -- DVD Review by Porfle

Originally posted on 10/5/11

 

Here's the bottom line--if you have the same sense of humor that I do, you'll love SNUFF BOX: THE COMPLETE SERIES, the six-episode sketch comedy series starring British comedian Matt Berry and American comedian Rich Fulcher.  However, if you don't have the same sense of humor that I do, then this review is probably the closest you'll ever want to ever get to it, ever ever ever.

Another condition--it will help if you're a fan of things like "Monty Python's Flying Circus", "Mr. Show", "Kids in the Hall", and various other showcases for surrealistic silliness and illogical irreverence.  But since this show isn't taped in front of a live audience and uses cinema-style photography and editing, Berry and Fulcher are able to let their imaginations drift through the same kind of demented mental landscape from which things like "Alice in Wonderland" emerge.

As a framing device, the boys live in a posh gentlemen's club started by Matt's great-uncle Sir Charles Berry and carry on his family business of hanging people at the local prison.  Most episodes, in fact, begin with a humorous hanging (Condition #3: must enjoy humorous hangings, Russian roulette, and other lighthearted but graphic violence) after which we join Matt and Rich in the club's lounge, establishing the storyline from which the various comedy sketches are, if you'll pardon the expression, hung.

Matt's character is a pompous, conceited womanizer who always steals Rich's girlfriends away from him and cheats him out of his royalty checks from the estate of his late mother, Mama Cass Elliott.  Rich is a naive, Stimpy-like fall guy for the most part, although he can revert into a sadistic tormenter who shares Matt's personal diary confessions with the world and ruins all of his attempts at public speaking by blurting out all his punchlines.  Because of this, Matt often vows to kill Rich, even purchasing several books on the subject such as "How to Kill Rich Fulcher With Poison Darts." 

In the tradition of such shows, the two stars play most of the other characters themselves thanks to clever use of editing and green-screen.  These include a nerd (Fulcher) with an intense sexual fixation toward various objects such as lollipops, teddy bears, and his own arm, and Sir Charles (Berry), whom Rich visits in 1888 via a magic doorway next to the club's restroom.  One of the best episodes features a visit from Matt and Rich's brothers--naturally, Rich's obnoxious redneck brother wants to kill him, while Rich's "specially challenged" brother James makes a screamingly funny appearance on a British pop music show.

Other noteworthy stand-alone bits: Rich takes center stage in the delightful "Rapper With a Baby" music video; Matt is a video guitar teacher with a grotesquely long ring finger; Rich plays a stern art museum guide in "Full Metal Jacket" drill-sergeant mode; and Matt's solemn musical tribute to a deceased brother suddenly turns into a cheesy Edgar Winter spoof complete with strap-on keyboard.

My favorite running gags, however, are those which involve Matt and Rich as themselves and are part of the overall storyline that (sort of) links the six episodes together.  Matt's attempts to purchase a pair of silver cowboy boots from a chic store results in him being savagely beaten by a succession of surprisingly violent salespersons.  He also displays dashingly chivalrous behavior towards a number of attractive women until their mention of the word "boyfriend" brings out his violent streak.  Rich's problems getting girls to like him also result in several funny bits, culminating in his engagement to an ape woman with whom Rich is caught having public intercourse during the wedding reception.

While watching the show I kept detecting a nagging similarity to something else besides other sketch comedy shows I'd seen before.  When Rich steps through a doorway and plummets into a swimming pool, it finally hit me--in addition to being like "Monty Python", "Mr. Show", et al, SNUFF BOX's surrealistic style is strongly akin to the mindblowing 1968 Monkees' film, HEAD.  Adding to this is Matt Berry's cool score, which revolves around a single reoccuring song and ties the series together musically while frequently erupting into full-blown production numbers.  This surprisingly lush score, along with the show's mid-budget feature film look, gives it the feel of an extended movie that should be watched in one sitting to be fully appreciated. 

The DVD from Severin Films is in 1.78:1 widescreen with Dolby Digital sound.  No subtitles.  Extras include featurettes "Taking Control of Your Body" with testimonials from the likes of Simon Pegg and "Weird Al" Yankovic, "Locations Walking Tour", "The Score", "Inside the Snuff Box", more testimonials, outtakes, and commentaries by Matt and Rich for episodes 1, 2, and 6.  Best of all is a bonus CD containing 36 minutes of music and songs from the soundtrack.

With its weird blend of sex, violence, profanity, and just plain strangeness, SNUFF BOX: THE COMPLETE SERIES is the kind of entertainment that will appeal to a small but devoted audience, as evidenced by its initial failure on BBC 3 (it was only shown once in 2006) and subsequent cult popularity.  If this sounds good to you, then you owe it to yourself to have a go at this obscure comedy gem.

SNUFF BOX: THE COMPLETE SERIES -- DVD Review by Porfle

THE PEANUT BUTTER SOLUTION -- Blu-ray Review by Porfle

Originally posted on 12/17/19

 

Imagine one of those ABC After School Specials in which the scripter slowly went insane during the process of writing it. If you can picture that, you'll have a pretty good idea of what it's like to watch the 1985 Canadian children's film THE PEANUT BUTTER SOLUTION (Severin Kids).

Michael (Mathew Mackay, LITTLE MEN, THE BOOK OF EVE) is a normal kid who likes to play soccer, and his sister Suzie (Alison Podbrey, THE SUM OF ALL FEARS) is struggling to take over the "Mom" role in the family while their real mom is away. Meanwhile, their eccentric dad Billy (Michael Hogan) is a successful painter working in the attic studio of their home.

When a nearly abandoned house burns, killing some homeless people trapped inside, Michael and his friend Conrad "Connie" Wong (Siluk Saysanasy of "Degrassi High" in a wonderfully likable performance) decide to explore it.

But when Michael goes inside, he sees something so frightening that, after a close-up in which he resembles a pint-sized Yahoo Serious, he goes into shock and then loses all of his hair, turning completely bald. 

So far, this is just like any other kids' show you might've tuned in to watch after school back in the 80s, and it might've even had Scott Baio in it. But when the ghosts of two dead "winos" appear to Michael in the dead of night and share with him a secret formula for restoring his hair (one involving, as you might guess, peanut butter), then that's when we fear the writer has started going progressively coo-coo.

Actually, a group of writers worked on the script, which takes us through Michael's painful first day back at school as a "baldy", effectively portraying a kind of emotional turmoil that most kids can identify with. His family and faithful friend Connie are shown trying to comfort the stricken lad, each in his or her quirky way, but to no avail.

Then Michael becomes even more of a freakish outsider when, after using too much peanut butter in the solution, his hair begins to grow at an alarming rate--several feet per hour, in fact--which is depicted in such bizarre terms that the film begins to take on much the same feel as iconic surrealist Fernando Arrabal's only children's film, THE EMPEROR OF PERU.

(I'm not even going to mention that part where Connie tries out the hair-growing solution on his...err, never mind. Suffice it to say, it's something you don't expect in your standard kids' film.)

With six feet or so of hair trailing behind him, Michael can't even walk to school without the wind twisting his flowing mane around a nearby hedge. It's here that he is kidnapped by the villain of the story, taken to a hidden location where there are several other recently abducted children, and made part of an insidious plot that's like something out of Ian Fleming during a flush of fevered imagination.

The story by this time has made a determined foray right into mind-bending fantasy territory to such an extent that it should delight both children and likeminded adults.

This involves magical paintings that one can enter, rendered with magical paintbrushes made from human hair (guess whose), and is all presided over by Michel Maillot as the delightfully sinister Signor Sergio, a frustrated artist recently fired from his teaching position at Michael's school for being, well, too damn weird.

Mathew Mackay and Alison Podbrey do a fine job as a relatably normal brother and sister, while Siluk Saysanasy often steals the show as Connie. Connie's own little sister Mai Ling (cute-as-a-button Nadka Takahataki) shows up as one of the kidnapped children.  The adult members of the cast are equally good, with special honors going to Maillot as The Signor.

Severin Films' new kids label, Severin Kids, is well-served by this good-looking entry which is both subtitled and closed-captioned with mono English sound.  Severin's usual well-stocked bonus menu includes an extended U.S. theatrical release version with extra footage, an easygoing commentary with producer Rock Demers and actor Mathew Mackay, a seperate interview with Demers, an interview with Siluck Saysanasy, a look at Canadian kids' films, and both Canadian and U.S. trailers. The Blu-ray's cover art is reversible.

THE PEANUT BUTTER SOLUTION is just the sort of kids' entertainment that places young viewers into a recognizable environment before taking a wondrously entrancing detour into the surreal.  I wish I'd been able to see it as a child, although my current inner child had a fantastic time.

Special Features:

    Extended U.S. Theatrical Release Version
    New Commentary with Producer Rock Demers and Actor Matthew MacKay, Moderated by Filmmaker Ara Ball
    Human Beings Are The Same All Over: An Interview with Producer Rock Demers
    Conrad’s Peanut Butter Solution: An Interview with Siluck Saysanasy
    Tales for All: Paul Corupe on Rock Demers and the Canadian Kids Film
    Canadian Trailer
    Original U.S. Trailer
    Reversible cover

Alternate cover art:

THE PEANUT BUTTER SOLUTION -- Blu-ray Review by Porfle

VIDEO NASTIES: THE DEFINITIVE GUIDE PART 2 -- DVD Review by Porfle

Originally posted on 1/30/15

One of the oddest episodes in the history of splatter flicks was that whole business about "video nasties" that happened in England back in the 80s and 90s. Back then, Margaret Thatcher and several other government types were popping their corks over any small-screen (i.e. "video") entertainment that involved any kind of graphic gore, and were using all their legal powers to squelch, suppress, censor, and generally pull the plug on the whole bloody shebang.

We know now, of course, that--to paraphrase Allan Carr--you just can't stop the splatter. In "Video Nasties--The Definitive Guide" we learned about Thatcher's infamous banned list, which spelled out which films were not only officially frowned upon but would be forcibly removed from video stores and destroyed, and their offending owners prosecuted.

With its follow-up, the documentary VIDEO NASTIES: THE DEFINITIVE GUIDE PART 2, subtitled "Draconian Days" (Severin Films 3-disc DVD set), we learn that the story continued for many years afterward as censorship and legal action against the offending horror videos grew stricter and more draconian than ever before, while sensationalistic news stories fanned the flames of public condemnation.

The story focuses mainly on the BBFC--British Board of Film Classification--under the strict rule of board director James Ferman. This group of video watchdogs tirelessly scrutinized the seemingly neverending flow of movies containing the sort of violence, gore, and "sick" themes which, they feared, might be accessible by children even if the videos themselves were purchased or rented by "responsible" adults.

Ferman wielded his censor's scissors recklessly and to such extremes that other members of the BBFC, some of whom are interviewed here, began to question him. But for years, a generous number of horror films were either mercilessly edited or banned outright, which, ironically, made them even more sought-after by avid gorehounds who created a vast bootlegging and trading underground.

While the documentary contains numerous film clips, it's composed mainly of talking head segments featuring various politicians, filmmakers, authors, and other interested parties, each offering accounts of their own personal views and experiences during this era of extreme censorship and artistic persecution.

At one point even David Cronenberg shows up to posit that the censors were just as delusional as the psychos supposedly getting all their ideas and inspiration from horror films. This doesn't seem at all unlikely when the documentary details the time in which the infamous murder of toddler James Bulger by two young boys was blamed in large part on the film CHILD'S PLAY 3.

As with the previous installment, director Jake West does a meticulous job of putting it all together to create an engrossing and informative narrative. Those who enjoy documentaries should have little problem getting into this. Those who don't, however, will probably be bored stiff.

For them, discs two and three are just the thing, for they contain trailers for all the blood 'n' guts classics once deemed too sick, horrific, depraved, and just plain evil for sensitive British subjects to handle. The discs offer 82 trailers in all, namely those titles chosen under Section 3 of the Obscene Publications Act which could be seized and destroyed, either from places of business or from citizens' private homes as well.

A great feature of these discs is the choice to watch the trailers one after another, uninterrupted, or to view detailed, informative introductory reviews of each title by a very knowledgeable bunch of filmmakers, authors, and critics.

Some of the 82 titles include BLOOD LUST, BRUTES AND SAVAGES, CANNIBALS, DEAD KIDS, DEEP RED, DEATH WEEKEND, DEMENTED, EATEN ALIVE, HEADLESS EYES, HELL PRISON, LOVE BUTCHER, MARK OF THE DEVIL, MASSACRE MANSION, SAVAGE TERROR, SCREAM FOR VENGEANCE, SUICIDE CULT, THE TEXAS CHAINSAW MASSACRE, XTRO, and ZOMBIE HOLOCAUST.

In addition to these, bonus features also include two galleries--the first, covers from dozens of gore fanzines from the era, and the second, covers from all the videos which were either successfully prosecuted under the Obscene Publications Act or deemed liable for seizure but not prosecution. Discs are in anamorphic widescreen with Dolby Digital mono sound. No subtitles.

As before, this DVD set's design presentation itself, with its simulated videotape imperfections and "adjust tracking" prompts, is fun for the nostalgic VHS fan. But that's just icing on the cake for VIDEO NASTIES: THE DEFINITIVE GUIDE PART 2, which is rewarding not only for its intensive history of the subject but also for a wealth of trailers that should have gorehounds barking at the bloody moon.



Read our review of Part One

VIDEO NASTIES: THE DEFINITIVE GUIDE PART 2 -- DVD Review by Porfle

VIDEO NASTIES: THE DEFINITIVE GUIDE -- DVD Review by Porfle

  Originally posted 6/25/2014

 

For those unfamiliar with the story, Severin Home Video's new 3-disc DVD set VIDEO NASTIES: THE DEFINITIVE GUIDE should serve as a more than adequate recap of one of the strangest cultural battles ever to take place on English soil. And even if you already know all the information imparted by the collection's first disc documentary, "Video Nasties: Moral Panic, Censorship, and Videotape" (2010), the barrage of trailers on discs 2 and 3 should keep you entertained for hours.

The 2010 documentary, directed by Jake West, begins as the home video craze is heating up in the early 80s. One of the hottest attractions is what would become known as the "video nasty", namely those cheap but extremely gory horror flicks that had many of us haunting our local mom 'n' pop video stores looking for anything with some of that good ol' shock value.

But when societal watchdogs in England such as aging activist Mary Whitehouse noticed that these gruesome films were bypassing theatrical age restrictions and being watched on home VCRs by little kids, something was bound to hit the fan.

With something new to censor, various members of Parliament joined Ms. Whitehouse and an indignant press in stirring up public outrage against the "sadist videos" (which Whitehouse admitted to never having watched) along with some heavy legal backlash. The first step was a widespread confiscation, with 32,000 tapes such as DRILLER KILLER and DEATH TRAP being seized and burned in London's Metropolitan area alone.

As righteous anger over these videos grew, so did the penalties for distributing and renting them, with several offenders paying large fines and even going to jail. Newspapers and police began using the films to conveniently explain all sorts of criminal behavior, accusing them of potentially "corrupting and depraving" anyone who watched them.

It wasn't long before Prime Minister Margaret Thatcher jumped on the bandwagon in order to attain some much-needed moral cred, coming up with a list of 72 banned titles that could get you into big trouble if caught renting or distributing them. This list, of course, became a "must-see" menu for fans of the genre although the films were becoming increasingly difficult to find.

The documentary describes how the banned video nasties got copied and passed around by fans, and how these multi-generation tapes had a fuzziness which helped obscure bad FX and make the images seem more mysterious and realistic. One of my favorite things about "Video Nasties: Moral Panic, Censorship, and Videotape", in fact, is how it delves into the nostalgia those of us from the VCR era still have for those big, clunky machines and often battered tapes that we ran through them.

The documentary--and, in fact, the DVD packaging and menus themselves--display an almost fetishistic regard for VCRs, VHS, videotape imperfections, and other quirks of the medium with which I could strongly identify. There's also a fond remembrance of those hole-in-the-wall video stores that seemed to pop up just about everywhere in the 80s, each of which had its own individual ambience and unique variety of titles both familiar and obscure.

What I didn't like so much about the documentary--and it's a small gripe--is that it leans rather heavily on talking heads (politicians, filmmakers, critics, and other interested parties from the era) and not enough film clips. However, since discs 2 and 3 more than make up for this, then disc 1 can be forgiven for being more of a history lesson than anything else.

Disc 2 features trailers for "The Final 39", or the films that were successfully prosecuted in UK courts and "deemed liable to deprave and corrupt." Retailers and distributors could be heavily fined and even imprisoned for handling these hot-button horrors. The trailers range all the way from something called ABSURD to ZOMBIE FLESH-EATERS, with some of the titles in-between including: THE BEAST, CANNIBAL HOLOCAUST, THE DRILLER KILLER, I SPIT ON YOUR GRAVE, NIGHTMARES IN A DAMAGED BRAIN (I think I rented this under the shortened title NIGHTMARES), and the infamous fake-out SNUFF.

Disc 3 contains trailers for the 33 films that were initially banned but later removed from the "leper list" (as I just now decided to call it). Are they truly milder than the notorious 39 and less likely to turn viewers into gibbering sadists? It's your call as the line-up includes such blood-soaked fare as THE BOGEY MAN, DEATH TRAP, DEEP RIVER SAVAGES, THE EVIL DEAD (that one definitely warped MY mind), THE FUNHOUSE, HUMAN EXPERIMENTS, THE TOOLBOX MURDERS, and ZOMBIE CREEPING FLESH.

The trailers on Discs 2 and 3 can be viewed in all their uninterrupted glory, or with introductions and reviews (some pretty in-depth) from some of the talking heads seen in Disc 1's feature documentary. Cult horror presenter Emily Booth greets us at the start of each disc. Other extras include VHS box art and video logo galleries. The discs are in anamorphic widescreen with Dolby digital sound. No subtitles.

"Video Nasties: Moral Panic, Censorship, and Videotape" is an interesting but slow-moving and occasionally dull account of a fascinating time in British history. Lots of yakkity-yak and not enough video clips slow things down to a creep even though this is a valuable historical document that should be seen by anyone interested in the subject. But it's that collection of "must-see list" trailers that really rates VIDEO NASTIES: THE DEFINITIVE GUIDE a nasty niche in your own video library.



Read our review of Part Two

 

VIDEO NASTIES: THE DEFINITIVE GUIDE -- DVD Review by Porfle

SHE KILLED IN ECSTASY -- Blu-ray+CD Review by Porfle

  Originally posted on 5/14/2015

 

Jess Franco's immediate follow-up to his relatively well-made VAMPYROS LESBOS is another dark, death-shrouded vehicle for the lovely and exotic Soledad Miranda (again billed as "Susann Korda") featuring some of the same castmembers including Paul Müller, Ewa Strömberg, and Franco himself.

The result, SHE KILLED IN ECSTASY (1971), is a slasher/revenge thriller which stands with his previous effort as one of my two favorite Franco films so far.

The storyline this time is lean and simple--genetic research scientist Dr. Johnson (Fred Williams) commits suicide after his maverick work with human embryos is viciously derided as inhumane by his peers, who suggest he be not only imprisoned but even executed for such atrocious ideas.

Devastated, his devoted wife (Soledad Miranda, known only as "Mrs. Johnson" throughout the film) vows revenge against the four scientists she holds responsible for her husband's death. These are Prof. Jonathan Walker (Howard Vernon), Dr. Franklin Houston (Paul Müller), Dr. Crawford (Ewa Strömberg), and, last but not least, Jesús Franco as the understandably nervous Dr. Donen.

Even before the murders begin, we get an idea of how casually perverse SHE KILLED IN ECSTASY is when we learn that Mrs. Johnson is keeping her husband's death a secret in order to have necrophilic relations with his corpse. While this may sound romantic on paper, it comes off as a bit strange in practice.

Soledad Miranda handles these scenes as she does all her others, with a smoldering intensity that is always enhanced by her dark, exquisite physical beauty. When she becomes a seductive femme fatale, donning various guises to stalk her male and female prey before brutally killing them, her presence always fascinates.

As Franco's muse for all-too-short a time, she seems to inspire him to do some of his best work. For example, the death of Dr. Crawford (Strömberg, who played Countess Carody's lover in VAMPYROS LESBOS) is artfully choreographed and shot, with the added visual flair of having the hapless woman suffocated with a clear plastic pillow through which we can still see her anguished face.

The murders of the male victims are more brutal and violent, although much of this is suggested rather than graphically depicted. Still, it's shocking enough to see Mrs. Johnson going through the motions of castration and aggravated genital mutilation (Franco's unfortunate shlub of a character gets special attention) on a level usually reserved for the most agregious rape-revenge plots.

This emphasizes just how deranged she is and to what extent she must sadistically torture and degrade the objects of her wrath as punishment for driving her husband to suicide. These scenes are heavily sado-masochistic as well.

A limited collector's edition, the handsome 2-disc Blu-ray+CD set from Severin Films is in 16 x 9 widescreen with 2.0 sound. The soundtrack is German with English subtitles. Extras consist of a 20-minute Franco interview, an interview with Soledad Miranda historian Amy Brown (the same one found in Severin's VAMPYROS LESBOS set), an interview with "Murderous Passions: The Delirious Cinema of Jess Franco" author Stephen Thrower, a brief interview with actor Paul Müller, and the original German trailer.

Disc two is actually a music CD entitled "3 Films by Jess Franco" containing tracks from VAMPYROS LESBOS, SHE KILLED IN ECSTASY, and THE DEVIL CAME FROM AKASAVA. These 24 musical tracks by Manfred Hübler and Siegfried Schwab are offbeat and enjoyable--much more so, in fact, when isolated in this way than when heard as backing for scenes which, in my opinion, they're often wildly inappropriate. I found much of this music to be terrifically listenable.

Although still displaying that unpolished quality characteristic of Franco's work, SHE KILLED IN ECSTASY is more crisply wrought and thematically unfettered than his other films I've seen. And as a companion piece to VAMPYROS LESBOS, it stands as a fitting testament to the talent and appeal of Soledad Miranda, whose promising career was so tragically cut short by a fatal car accident soon after filming was completed.


(Stills shown are not taken from the Blu-ray.)

Other Jess Franco reviews from HK and Cult Film News:

THE HOT NIGHTS OF LINDA
VAMPYROS LESBOS
THE SINISTER EYES OF DR. ORLOFF
BLOODY MOON
PAULA-PAULA

SHE KILLED IN ECSTASY -- Blu-ray+CD Review by Porfle

CATHY'S CURSE -- Blu-ray Review by Porfle

 

(Originally posted on March 30, 2017)

 

I'd never watched CATHY'S CURSE until now, but I do remember seeing a TV spot for it way back in 1977 and thinking that the title sounded like some kind of weird Everly Brothers song.

Today, this charmingly quaint little Canadian chiller-thriller is one of those late 70s film artifacts that seem to foretell the kind of supernatural horror flicks that we'd be seeing all through the 80s when we weren't watching some unkillable stalker-killer slashing his way through a teen cast.

Much of what happens was already pretty familiar stuff at the time.  There's a 1947 prologue featuring the violent deaths of a father and his young daughter Laura--the mother having just abandoned them, taking younger son George with her--whose spirits will return to haunt the living in the present day.

Those haunted are a family consisting of grown-up George (Alan Scarfe, LETHAL WEAPON 3, LOCK UP), his troubled wife Vivian (Beverley Murray) who's still recovering from a nervous breakdown, and their adolescent daughter Cathy (Randi Allen). 

When they return to the old homeplace to live, we know pretty much what's in store for them, and it will involve Cathy being possessed by Laura's angry spirit and making life a living hell for everyone else--especially Vivian, since Laura, like her late father, tends to regard all women as "bitches."  (George seems to be soaking up some of the old man's malevolent spiritual residue himself at first, but not much is made of this.)

French director Eddy Matalon has a lean, unfettered style and the cinematography has that chilly sort of starkness you often see in 70s and 80s Canadian cinema.  The editing is rather jumpy at times, adding to a sense of unpredictability and illogic that seems to enhance rather than detract from the film's modest appeal.

Once settled into their new house, Cathy wastes no time switching over to "creepy possessed kid" mode with the help of a hideous doll with sewn-together eyes that she finds in the attic along with a glowing-eyes portrait of Laura. 

This allows the writers to toss dashes of THE EXORCIST and THE OMEN into the stew albeit never anywhere close to the same intensity or fear level.  In fact, most of what happens is more delightfully amusing than scary, and is at times downright rib-tickling. 

This includes Cathy getting the old caretaker Paul drunk and then unleashing a gaggle of imaginary snakes and spiders on him, and sending a poor old lady who's babysitting her out an upstairs window by telekinetically launching that ugly doll at her. (The investigating police detective is familiar David Cronenberg regular Sonny Forbes, who played the bald black assassin in SCANNERS.)

There's a cool scene early on with Cathy reenacting Laura's fatal car crash with some neighborhood children while Vivian entertains two women, one of whom happens to be a medium.  Her extreme reactions to a picture of Laura's father, jerkily intercut with Cathy's menacing behavior toward her playmates, are a hoot.

The main focus of Cathy's wrath, however, is poor, frazzled Vivian herself, who's in and out of the nervous hospital throughout the film.  This allows Beverley Murray to emote to her heart's content, as when she's having a Calgon moment in the bathtub and suddenly finds herself awash in blood and leeches. 

The rest of the film is a series of derivative but pleasingly off-the-wall "fright" scenes that build to a blandly diverting finale boasting some fun burn makeup for Cathy.  Little Randi Allen, in her first and only film, is endearingly cute acting all menacing and scary.

The Blu-ray from Severin Films is 1080p HD full resolution with Dolby mono sound in English, French, Italian, and Spanish.  English subtitles are available.
 
Severin once again offers a loaded bonus menu including an interview with director Eddy Matalon, a charming interview with grown-up Randi Allen and her mother Joyce (who worked in wardrobe on the film), a fannish audio commentary with critic Brian Collins and filmmaker Simon Barrett, a trailer, and more.  The disc contains both the U.S. release cut and the longer director's cut. 

CATHY'S CURSE never gets nearly as scary as it wants to be--in fact, I don't think it raises a single hackle--but for those who can appreciate this sort of thing, kicking back to watch it is one of life's simple pleasures.  It's just the kind of relatively minor cult horror flick that's a throwaway to some, and a euphoria-inducing treat to others.

CATHY'S CURSE -- Blu-ray Review by Porfle

VIY -- Blu-ray Review by Porfle

Originally posted on 12/18/19

 

If you ever wondered what a vintage Russian horror movie would be like, look no further than VIY (Severin Films, 1967). This old-country ghost story of a young would-be monk's terrifying supernatural clash against an undead witch with a thirst for vengeance should check that box on your bucket list quite nicely.

In fact, when this well-produced and beautifully-mounted tale really gets cranked up, some scenes easily match those whacked-out Shaw Brothers martial arts/ghost stories such as HOLY FLAME OF THE MARTIAL WORLD and THE BATTLE WIZARD for sheer supernatural weirdness.

But I'm getting ahead of myself. The story begins when a group of rowdy young seminary students are released from the monastery for what amounts to their version of Sprink Break. Three of them, including Khoma (Leonid Kuravlyov), get lost walking to the nearest village and ask for lodging in a secluded house.

When the creepy and rather frightful-looking old crone who lives there begins to come on to Khoma in a (yechhh) seductive manner, he naturally rebels. She then mounts him horseback-style and, swinging her broom and cackling all the way, rides him straight up into the night sky for a harrowing lighter-than-air experience.

Upon landing, Khoma grabs a stick and starts beating her with it. As he does, her features change into those of a beautiful young woman.  Khoma flees from the dying figure and returns to the monastery, only to find the next day that he has been ordered to travel to a house and pray for three days at the deathbed of a woman who, for some reason, has requested him by name. 

After a long wagon journey during which he gets drunk on vodka with his garrulous guides, Khoma arrives at the house to discover two things: one, the woman is dead, and two, she's the same one he beat so savagely the night before. And yes, she was a witch, although her devoted and very imposing father refuses to believe such a thing and threatens Khoma with a deadly lashing if he doesn't fulfill her last wish for him to pray over her.

This, then, results in three successive nights of terror for Khoma which are a grueling ordeal for him and a source of pure, hair-raising entertainment for us horror fans.

After a suspenseful build-up that has us keen with anticipation, directors Konstantin Ershov and Georgiy Kropachyov lock us into that shadowy, decrepit old church with Khoma and the young woman's corpse and then methodically start pulling out all the stops one by one.

The first night is when she initially comes back to snarling, eyeball-rolling life as Khoma furiously recites scripture for all he's worth.  Hastily scrawling a chalk circle around his lecturn, he cowers fearfully as the witch struggles to enter it. The camerawork and direction are wonderfully frenetic here and are matched by the intense performances of the two leads.

And that's just the first night.  At this point we're still in for some of the wildest visuals imaginable, all rendered with fine old-school practical and photo-chemical effects as opposed to the sort of generic CGI that would likely be used today. 

There are ample chills and loads of atmosphere, but on the third night things go from lush Gothic scariness to bizarre, practically Lovecraftian surrealism.  Here, we at last meet Viy (pronounced VEE-Yah) and his repellent minions, and--that's all I'm going to reveal.

Leonid Kuravlyov does a marvelous job as Khoma, and, although we're meant to feel as though the callow priest deserves all of this, I can't help but sympathize with him. His actions during that first encounter with the witch are understandable, and it isn't his fault that his faltering faith provides him little protection against the supernatural horrors he faces later on.

We also discover at one point that he's an orphan who never knew his parents, leading me to assume that he ended up at the monastery because nobody else wanted him and was simply making the best of it despite his carnal weaknesses. This, if anything, makes his spiritual ordeal all the more tragic and affecting to me in addition to its potent visceral horror.

The Blu-ray from Severin Films is pictorially splendid and a pleasure to look at. Both Russian and English-dubbed soundtracks (with subtitles) are available. Bonus features include an interview with Richard (HARDWARE) Stanley, a featurette entitled "The Woods To The Cosmos: John Leman Riley On The History Of Soviet Fantasy And Sci-Fi Film", a trailer, and three scintillating silent films--"Satan Exultant", "The Queen of Spades", and "The Portrait"--from the early days of Russian fantasy-horror cinema.

In today's world of flashy, noisy, jump-scare-ridden CGI fests, VIY comes as a real old-fashioned horror tale that knows what chills us. It's so finely-rendered and effective, in fact, that when it was over I could only wonder where in the heck it has been all my life.


Buy it from Severin Films


Special Features:

    Viy the Vampire: An Interview with Richard Stanley
    The Woods To The Cosmos: John Leman Riley On The History Of Soviet Fantasy And Sci-Fi Film
    Short Silent Films – Satan Exultant, The Queen of Spades, and The Portrait
    Trailer
    English Track

VIY -- Blu-ray Review by Porfle

HARDWARE -- DVD Review by Porfle

 

 Originally posted on 10/14/09

 

The last time I watched HARDWARE (1990) was almost twenty years ago, and it was a washed-out, edited, pan-and-scan VHS version that, not surprisingly, didn't make much of an impression on me. Now, this hard-to-find gem has been lovingly restored and can be appreciated for the thrilling, visually-stimulating cyberpunk classic that it is. 

 Director Richard Stanley's sci-fi thriller has an incredibly simple story with gobs of dystopian goodness layered onto it. In a scorched world where civilization is in shambles and limited nuclear warfare has spread destruction and radiation over the land, a beautiful young artist named Jill (Stacey Travis) ekes out a living making junk-sculptures in her spacious apartment. 

Her on-again, off-again boyfriend Mo (Dylan McDermott), an ex-military scavenger with a mechanical hand, runs across the scattered pieces of a strange robotic device and brings them to Jill for use in her artwork. But when this prototype MARK 13 war-droid reassembles itself and goes on the attack, Jill and Mo and everyone else within killing distance are in for a really rough night. 

 Looking much more opulent that its budget (less than one and a half million dollars) would suggest, HARDWARE's harsh world is very well-realized and convincing. Some location shooting in Morocco bookends the film with some great desert exteriors, while the interiors are a triumph of production design. Jill's apartment in particular is endlessly interesting to look at and the retro-modern computer gadgetry that can be found everywhere has a clunky, jury-rigged quality. 

While much of the film's color scheme is red, black, and rust, the lighting within the apartment is as rich and varied as in Dario Argento's SUSPIRIA or the color comics in an old Warren horror magazine. 

Refreshingly free of digital technology (there's even an old-fashioned glass matte in one shot), the effects for HARDWARE prove how entertaining and satisfying it is to see real things really happening in front of the camera. Imaginative editing and camera angles give us just enough of an idea of the MARK 13's movements and general appearance while maintaining its mystery. Stunts, fire gags, and other assorted mayhem keep the excitement level high, especially with Stacey Travis doing most of the physical stuff herself. 

 

 

 Old-school gore effects are on the menu as well, most of which are seen here for the first time in the restored edition. This includes a nifty bisection as one character is cut clean in half by an errant safety door. Another hapless victim, Jill's lecherous peeping-tom neighbor Lincoln (William Hootkins), has a face-to-face encounter with the MARK 13 in which he literally goes to pieces. Hootkins, whose long list of memorable characters includes Porkins in STAR WARS and slimeball cop Eckhardt in Tim Burton's BATMAN, almost steals the show as the bloated pervert who drools over Jill through a telescope and later forces himself into her apartment. His jaunty rendition of "The Wibbly-Wobbly Song" is a delightful lead-up to his horrible demise. 

As mentioned above, much of HARDWARE's look seems inspired by Dario Argento and other Italian directors (SUSPIRIA in particular comes to mind during several scenes), while Stanley himself mentions such influences as ROBOCOP, TERMINATOR, THE EVIL DEAD, SOYLENT GREEN, WESTWORLD, and TEXAS CHAINSAW MASSACRE II. His camera is beautifully mobile and the barebones story is merely an excuse to indulge in loads of colorful stylistic fun. 

Stanley really seems to enjoy shooting the expressive Travis in imaginative ways as she brings all the intensity and physicality she can muster to her role (her two nude scenes are filmed with particular flair). Hardly an indestructible super-heroine, Jill runs the gamut of panic, terror, and despair while suffering as much physical abuse as DIE HARD's John McLane, until finally she gets mad enough to fight back with everything she's got. 

 Dylan McDermott's "Mo" (short for "Moses", we discover) is a stalwart but believable flawed hero. John Lynch is very good as his friend "Shades", a space shuttle maintenance worker who secretly carries a torch for Jill and must come to her aid even though he's just dropped a tab of some really intense acid. Iggy Pop can be heard as radio D.J. "Angry Bob" while Motorhead's Lemmy appears briefly as a motorboat taxi driver. The rest of the cast is well-chosen right down to the smallest roles. 

The evocative original score by Italian-film veteran Simon Boswell (PHENOMENA, DEMONS 2), which sounds alternately prog, New Age, and metal, is augmented by some great songs by Iggy Pop, Ministry, Motorhead, and especially Public Image, Ltd.'s "The Order of Death" ("This is what you want, this is what you get"). Rossini's "Stabat Mater" accompanies a particularly psychedelic death-by-injection sequence. 

 

 

Severin Films has done a really nice job with this 2-disc DVD. In 1.85:1 widescreen with Dolby Digital 5.1 and 2.0 surround sound, the picture and sound quality are very good. Director Stanley does an informative commentary track with the nudging of interviewer Norman Hill. "No Flesh Shall Be Spared" is a lengthy documentary with all-new cast and crew interviews which covers the history of the film in detail, including why it's been so criminally neglected over the years. Stanley also discusses the aborted HARDWARE 2 in an eight-minute segment. "Incidents in an Expanding Universe" is a 43-minute early Super 8mm version of HARDWARE which, while boring, is interesting to take a run through. The same goes for two more of Stanley's shorts, "Rites of Passage" and 2006's "The Sea of Perdition." Deleted and extended scenes round out the second disc. 

Alternately suspenseful, horrific, tragic, satirical, noirish, and downright funny (Jill inadvertently morphs into a bat-wielding martial arts character in one scene), HARDWARE is a real treasure for sci-fi and action fans which has finally been unearthed and restored to full power. It's high time for this exhilarating cinematic joyride to take its rightful place among the genuine gonzo classics of the genre.

 

HARDWARE -- DVD Review by Porfle

ECCO/ THE FORBIDDEN -- Blu-ray Review by Porfle

 

Originally posted on 1/31/19

ECCO (1963)


It may not have the word "Mondo" in the title, but ECCO, aka "Il mondo di notte numero 3" (Severin Films, 1963), is an offshoot of the infamous, wildly successful shock-u-mentary "Mondo Cane" just as sure as its goal is to shock, titillate, and even disgust everyone who shells out the price of a ticket to see it.

"Ecco" is an Italian word meaning "look here", and as soon as American producer Bob Cresse (MONDO FREUDO, MONDO BIZARRO) took a look at this Italian production, he knew he had to purchase the rights and release an Americanized version of it himself.  Which, one assumes, cleaned up at the box office.

He hired venerable actor George Sanders to intone the pithy narration, keeping the excellent musical soundtrack which includes both rock'n'roll and crooner-type ballads in addition to some stirring orchestral music like something out of a spaghetti western.

But the real attraction is the non-stop travelogue of exotic, outlandish, and often highly strange sights and sounds from around the world, some filmed as they occurred and others staged for the camera but, unlike many "Mondo" films, based (mostly) on actual events.

Some of this stuff is relatively mundane enough to show up in a TV travelogue, such as a look at Rio de Janiero's famed Mardi Gras celebration and a brief example of rough-and-tumble women's roller derby.

One mountain village in Europe is visited by a family of daredevil circus performers, and elsewhere we see some amazing Grecian monasteries built high atop mountain peaks (as seen in the James Bond film "For Your Eyes Only").  Portuguese fishermen go whaling in nothing but simple rowboats, a dangerous task which, if they survive, will benefit their entire village in many ways.

But before long, the more extreme exploitation aim of this eye-popping cinematic grab bag makes itself known in a variety of ways, beginning with some young German men who get together for a night of drinking and then bloody jousting with swords.

A satanic ritual ends with a naked woman drenched in chicken blood, while Swedish delinquents roam the streets getting into trouble, attacking citizens, and then having wild sex in front of a group of straight-laced oldies.  A visit to what is purported to be the final performance in the famous Grand Guignol theater finds the actors involved in a typically gruesome scene.

In one of the film's most amazing sequences, hundreds of young, half-naked Japanese men form a roiling, squirming, tightly-packed mass of humanity during a weird annual "game" in which at least a dozen of them are expected to be crushed or trampled to death just for funsies.

Sex really comes to the fore (finally!) in the film's latter half--matronly Vegas women drool over oiled, posing muscle men, a popular European stripper has a whole hall of lecherous guys in a state of giddy arousal, and a forbidden all-lesbian club engages in same-sex nudie frolics for the camera's benefit.

But just as I was beginning to write off ECCO as a fairly standard "Mondo" flick, then came a guy named Ivan--one of those "mind over body" zealots--who started driving long, sharp needles through his skinny body in a segment that may be staged but definitely isn't faked.

"Cringe" doesn't go far enough to describe watching this guy slowly penetrate his neck with a needle while describing how he's studiously avoiding the carotid artery, the jugular vein, and, of course, the esophagus.  Eventually we witness the needle's point emerge from the other side, whereupon he invites a member of the audience to pull it out. Yikes.

I figured they couldn't top this, but the next segment goes right into a reindeer roundup in Lapland where an amazing wave of thousands of reindeer swarm tsunami-like into an enclosed area where they scuttle around in a huge circle while the natives lasso them.

Some are slaughtered, while others are castrated to become steers.  How is this done? Why, the ladies do the honors with their teeth, of course.  And thus, my mind is blown.

Other things happen which I can't recall at the moment, all very beautifully narrated by silken-toned George Sanders (who even throws in a little Shakespeare), but this should suffice to give an overview of ECCO'S mindbending menu.  I expected the usual weird sex practices and bizarre rituals, but some of this stuff really had me in full "SMH" mode and then left me benumbed, bewildered, and thoroughly be-cringed.


THE FORBIDDEN (1966)


Having roughly the form of a "Mondo" but with much less of a travelogue element and much more unmitigated sleaze, Bob Cresse & Lee Frost's THE FORBIDDEN (1966) is composed almost exclusively of softcore sex stuff--mostly strippers pretending to be performing in Paris or London but mainly in dark little soundstages with drapes over the walls to simulate nightclubs. It's probably the same set every time, just redressed a bit.

The film does veer occasionally into actual documentary territory as when we're shown genuine footage of a riot that occurred in Los Angeles when hundreds of teenagers refused to obey a ten o'clock curfew and clashed with the police, causing much chaos and property damage.

There's also a couple of detours into lurid fiction via re-enactments of "true" cases, one involving a woman's lethal jealousy toward her ex-husband and his lovers (this one ends DEATH PROOF-style) and another telling of a lonely woman's very unconventional method of getting the man she loves to come and visit her in Paris from his home in Mexico.

Mostly, however, we're treated to the kind of nudie-cutie segments that one often saw in 8mm film loops in the 60s, given hokey wraparound stories.  One stripper is supposedly performing in East Berlin and pretending to be Hitler's girlfriend.  Another, the gorgeous "Baby Bubbles" from Frost & Cresse's MONDO BIZARRO, plays a woman who teaches timid housewives how to strip for their husbands. 

We get a good idea of what we're in for with the opening segment showing two women in varying states of undress while a creepy peeper peers at them through their window.  He breaks in and attacks, during which we find that this is supposedly a commerical commissioned by the female owner of a karate school for women wanting to learn self-defense.

A secret initiation of two girls into a lesbian club is an excuse for us to--you guessed it--watch some naked lesbians for awhile.  There's also a scene with a prostitute who drugs and rapes her female clients before robbing them. And with that, your evening's entertainment is pretty well rounded except for just one more stripper (and some fervid, near-incomprehensible narration) to send THE FORBIDDEN off in sleazy style. 


Buy it from Severin Films

Special Features:
The Bandit: Producer David Goldstein Remembers Bob Cresse
I Want More: Short Film
Ecco Trailer
English Subtitles

The Stripper is scanned in 4K from the original internegative
The Forbidden is newly-transferred from the only known 35m print in existence

ECCO/ THE FORBIDDEN -- Blu-ray Review by Porfle

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Hot on the heels of ZOMBIE 3, which he co-directed with Lucio Fulci and Bruno Mattei, comes Italian schlockmeister Claudio Fragasso's ZOMBIE 4: AFTER DEATH (Severin Films, 1989), another hot 'n' horrid terror tale of the living versus the undead on a humid tropical island.

This time we're back to basics again, with the zombies being created not by science gone wrong or some natural phenomenon, but by that old bugaboo--voodoo.  Here, a voodoo high priest raises an undead army against the interlopers (scientists again) whom he blames for the death of his wife.

In the first scene, he resurrects her as a real lulu of a zombie--really, this freaked-out hag sets the bar so high that no other creature in the movie can touch it.

They're still a motley bunch, though. In fact, these ambulatory corpses--who mostly wear hoods to save on makeup--are so sleazy-looking you'd think they'd started out as lepers before turning into zombies. 

As in ZOMBIE 3, they like to gang up on their victims and make very messy work of them as the fake blood gushes from every prosthetic gash.  The makeup and gore effects run hot and cold quality-wise, but it's all in good, dumb fun anyway.

It seems as though we've joined the story in progress when the scientists confront the voodoo priest, but just then all the potential protagonists we just got to know a minute ago start getting horrifically offed one at a time. 

In comes a whole new cast twenty years later, and they go tromping around in the jungle for about half an hour before someone finds the usual "book of the dead", stupidly reads the forbidden spell within, and starts the whole thing going all over again.

Two groups--three research scientists and some vacationing mercenaries and their lady friends--are barely around long enough for us to get to know them before it's "Ten Little Indians" time. 

The survivors of the inital carnage barricade themselves in an abandoned science lab against the advancing horde (this is one of the few Romero-esque touches) with the mercenaries--who have fortuitously stumbled onto a box of M-16s--offering some war-movie action along with the horror as everything heads toward a mindblowing finale.

The real fun comes when members of their own combined group get bitten and start to turn.  With all the flesh-eating, supernatural hoo-doo, and blazing gunfire going on, you may enjoy spotting all the references to THE EVIL DEAD, ALIENS, PREDATOR, and various other movies.  The opening scene at times even reminded me of one of the freakier Japanese ghost story movies.

Production values are pretty sparse, but as usual with these Italian jungle potboilers, whether they feature zombies, cannibals, or whatever, that's just part of the charm.  Claudio Fragasso (TROLL 2) has but two goals here, to entertain us and to gross us out, and with ZOMBIE 4: AFTER DEATH he has done both in splattery style.



Release date: May 29, 2018

Special Features:
Bonus Disc: CD Soundtrack (pictured below)
Run Zombie Run! – Interview With Director Claudio Fragasso and Screenwriter Rossella Drudi
Jeff Stryker in Manila – Interview With Actor Chuck Peyton
Blonde vs Zombies – Interview With Actress Candice Daly
Behind-The-Scenes Footage
Trailer

ZOMBIE 4: AFTER DEATH -- Blu-ray Review by Porfle

ZOMBIE 3 -- Blu-ray Review by Porfle

Originally posted on 5/19/18

 

Gory, lurid, and just plain nuts, Lucio Fulci's ZOMBIE 3 (Severin Films, 1988) sails over the top from the very first scene and just keeps on going. 

It's definitely not part of the George Romero universe.  Created by accident during a lab experiment to reanimate the dead, these zombies are some of the most groteseque, malicious, and aggressively hostile undead fiends to ever come leaping out of the bushes at you.

As expected, the makeup and gore effects are crude--obvious rubber masks and such--but are so wonderfully extreme that they're effective and fun nonetheless.  Lots of bladder effects are used to good advantage in the facial makeups, with plenty of graphic gore and severed limbs to go around.

The action is confined to a tropical resort island that just happens to have a top-secret military base where the disastrous experiment takes place.  After that, the good-guy scientists struggle to come up with an antidote to the highly-contagious zombie virus while the bad-guy military brass decide to just kill off everyone in the infected area, locals and tourists alike.

This includes a bevy of fun girls and their boyfriends in an RV, a young couple tooling around in their convertible, and three rowdy soldiers on leave, looking for a good time. 

Their trouble really starts when all are attacked by swarms of infected, virus-carrying birds, after which the injured must be protected by the others against growing hordes of horrific zombies intent on turning them all into pulled pork.

The rest of the film is a series of lively setpieces as various protagonists endure harrowing undead encounters which several of them won't survive.  Not only that, but they also must contend with military hit squads in hazmat suits who are machine-gunning anything that moves (which is where our three vacationing soldiers come in handy).

Direction and camerawork are pretty artless as usual, which is part of the film's charm.  ZOMBIE 3 was begun by Italian schlockmeister Lucio Fulci (ZOMBIE, DOOR INTO SILENCE, THE DEVIL'S HONEY) but actually completed by fellow filmmakers Bruno Mattei (ZOMBIES: THE BEGINNING, ISLAND OF THE LIVING DEAD, THE JAIL: THE WOMEN'S HELL, VIOLENCE IN A WOMEN'S PRISON) and Claudio Fragasso (ZOMBIE 4, TROLL 2).

As a result, ZOMBIE 3 is a frenetic conglomeration of so-bad-it's-good fun in which the subpar acting and dialogue, goofy characters, and hokey effects only add to its perverse appeal.  It's a non-stop zombie blowout that fans of the genre are sure to enjoy.



Release date: May 28, 2018

SPECIAL FEATURES:
Bonus Disc: CD Soundtrack (pictured below)
The Last Zombies – Interview With Co-Director/Co-Writer Claudio Fragasso and Co-Writer Rossella Drudi
Tough Guys – Interview with Actors/Stuntmen Massimo Vanni and Ottaviano Dell’Acqua
The Problem Solver – Interview with Replacement Director Bruno Mattei
Swimming with Zombies – Interview with Actress Marina Loi
In the Zombie Factory – Interview with FX Artist Franco Di Girolamo
Audio Commentary With Stars Deran Sarafian and Beatrice Ring
Trailer

ZOMBIE 3 -- Blu-ray Review by Porfle