Rapeman13
Joined Apr 2006
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Rapeman13's rating
Pervert! is a modern-day homage to the films of Sexploitation king Russ Meyer. I went into this not expecting much as I'm really not a big fan of the recent flood of "homage's" and "tribute's" being churned out by directors pathetically trying to cash-in on the current "retro" / "grindhouse" trend. Pervert! however, is a totally different beast.
Old Hezekiah (Darrell Sandeen) resides with his young, busty live-in whore Cheryl (Mary Carey) in Desert Range, an isolated stretch of desert in the south(?) where he indulges in his love for the art of meat sculpting. When his son James (Sean Andrews) comes to stay Cheryl gets a hankerin' for some younger meat and the two of them begin an affair behind the old man's back. Suddenly, Cheryl mysteriously disappears and James thinks his ol' man may be behind it. When Hezekiah comes home the next day with a new whore, James sets out to investigate his pops "studio" where he discovers Cheryl's temporarily re-animated corpse. But all is not as it seems, as later on when ol' pops is chained down, the bodies still keep a droppin'...
Writer/director team Jonathan Yudis and Mike Davis obviously have a Russ Meyer obsession. There are scenes and set-pieces here stolen directly from such Meyer films as Supervixens, Faster, Pussycat! Kill! Kill!, Vixen and a few others but nevertheless Pervert! still manages not to come off as yet another feeble attempt at a cash-in. Like Meyers films, Pervert! is very comic bookish in style with dream bubbles, wacky in-your-face camera angles, cartoon sound effects and loadsa really silly humour. Aside from Darrell Sandeen's fantastic performance as the perverted old holy roller, the acting isn't all that good especially from porn star and one-time Governor of California candidate Mary Carey, although she still fulfils the role of the stereotypical Meyer chick: big, natural tits! (in fact I'm pretty sure there's no silicone in this flick at all).
So, being as this is a tribute to the spirit of Russ Meyer there's obviously a whole lotta gratuitous nudity, but there's also (mainly in the second half) a generous splattering of gore. From arterial blood sprays to ol' Hezekiah tearing his own heart out for one of his meat sculptures, Pervert! can be rather bloody at times. Also, to its credit, Pervert! never reveals its low-budget origins - it has excellent camera-work, razor sharp editing and its cartoonish colours are extra bright and bold.
Overall, for a low-budget modern-day attempt at a Sexploitation flick, Pervert! is pretty decent. Sure, some of the jokes fall flat, the acting ain't too hot, and its all been done better before but if you're lookin' for some mindless nudity and laughs, check it out.
Old Hezekiah (Darrell Sandeen) resides with his young, busty live-in whore Cheryl (Mary Carey) in Desert Range, an isolated stretch of desert in the south(?) where he indulges in his love for the art of meat sculpting. When his son James (Sean Andrews) comes to stay Cheryl gets a hankerin' for some younger meat and the two of them begin an affair behind the old man's back. Suddenly, Cheryl mysteriously disappears and James thinks his ol' man may be behind it. When Hezekiah comes home the next day with a new whore, James sets out to investigate his pops "studio" where he discovers Cheryl's temporarily re-animated corpse. But all is not as it seems, as later on when ol' pops is chained down, the bodies still keep a droppin'...
Writer/director team Jonathan Yudis and Mike Davis obviously have a Russ Meyer obsession. There are scenes and set-pieces here stolen directly from such Meyer films as Supervixens, Faster, Pussycat! Kill! Kill!, Vixen and a few others but nevertheless Pervert! still manages not to come off as yet another feeble attempt at a cash-in. Like Meyers films, Pervert! is very comic bookish in style with dream bubbles, wacky in-your-face camera angles, cartoon sound effects and loadsa really silly humour. Aside from Darrell Sandeen's fantastic performance as the perverted old holy roller, the acting isn't all that good especially from porn star and one-time Governor of California candidate Mary Carey, although she still fulfils the role of the stereotypical Meyer chick: big, natural tits! (in fact I'm pretty sure there's no silicone in this flick at all).
So, being as this is a tribute to the spirit of Russ Meyer there's obviously a whole lotta gratuitous nudity, but there's also (mainly in the second half) a generous splattering of gore. From arterial blood sprays to ol' Hezekiah tearing his own heart out for one of his meat sculptures, Pervert! can be rather bloody at times. Also, to its credit, Pervert! never reveals its low-budget origins - it has excellent camera-work, razor sharp editing and its cartoonish colours are extra bright and bold.
Overall, for a low-budget modern-day attempt at a Sexploitation flick, Pervert! is pretty decent. Sure, some of the jokes fall flat, the acting ain't too hot, and its all been done better before but if you're lookin' for some mindless nudity and laughs, check it out.
Amongst horror fans Toshiharu Ikeda is probably better known for his Argento-inspired masterpiece Evil Dead Trap, but before delving into the horror genre Ikeda was making pink films for Nikkatsu's Roman Porno line with Sex Hunter being the most stylish, breathtaking, and gloriously brutal of the bunch.
Sex Hunter opens with an exquisitely photographed performance of Swan Lake featuring Miki as the prima ballerina. After the recital she receives numerous bouquets, one of which is from Akiko, a renowned ballerina who runs an exclusive ballet school. On her way home after the show Miki is approached by Akiko who invites her to join her academy. Miki agrees and is brought to the isolated location at once to begin her training.
Once there Miki quickly discovers there is more to this school than meets the eye as she is thrown headfirst into a deviant cocktail of rape, incest, group sex, sadomasochism, and Coca Cola enemas.
Miki's transformation from shy, virginal ballerina to ravenous uber-slut is represented brilliantly as the film swiftly transitions from scenes of Miki gracefully practicing her ballet routines to being bound and suspended from the ceiling expelling Coke from her asshole as her SM trainer leeringly looks on.
As with most pink films, the theme of liberation via domination is the central focus here. Once Miki has become a masochistic f@ck-machine she discovers her estranged (and now crippled) boyfriend is being kept on the school grounds by his incestuous sister - who, incidentally, happens to be Akiko - and attempts to escape with him which ends in some aggressive wheelchair-sex / near-death fall that earns Miki a severe beating/rape combination courtesy of Akiko and her sadistic assistant.
In a magnificently lit, rain-drenched scene, the films conclusion shows Miki transcending Akiko's heights of perversion and taking her sexual liberation to the limit as she indulges in a depraved ménage à trois with her crippled & bleeding boyfriend and her SM mentor.
Like Evil Dead Trap, Ikeda's film once again brings to mind Argento's Suspiria with its corrupt girls school plot and often dizzying camera-work but the similarities end there. In total, a gleefully sadistic piece of art that deserves more attention.
Sex Hunter opens with an exquisitely photographed performance of Swan Lake featuring Miki as the prima ballerina. After the recital she receives numerous bouquets, one of which is from Akiko, a renowned ballerina who runs an exclusive ballet school. On her way home after the show Miki is approached by Akiko who invites her to join her academy. Miki agrees and is brought to the isolated location at once to begin her training.
Once there Miki quickly discovers there is more to this school than meets the eye as she is thrown headfirst into a deviant cocktail of rape, incest, group sex, sadomasochism, and Coca Cola enemas.
Miki's transformation from shy, virginal ballerina to ravenous uber-slut is represented brilliantly as the film swiftly transitions from scenes of Miki gracefully practicing her ballet routines to being bound and suspended from the ceiling expelling Coke from her asshole as her SM trainer leeringly looks on.
As with most pink films, the theme of liberation via domination is the central focus here. Once Miki has become a masochistic f@ck-machine she discovers her estranged (and now crippled) boyfriend is being kept on the school grounds by his incestuous sister - who, incidentally, happens to be Akiko - and attempts to escape with him which ends in some aggressive wheelchair-sex / near-death fall that earns Miki a severe beating/rape combination courtesy of Akiko and her sadistic assistant.
In a magnificently lit, rain-drenched scene, the films conclusion shows Miki transcending Akiko's heights of perversion and taking her sexual liberation to the limit as she indulges in a depraved ménage à trois with her crippled & bleeding boyfriend and her SM mentor.
Like Evil Dead Trap, Ikeda's film once again brings to mind Argento's Suspiria with its corrupt girls school plot and often dizzying camera-work but the similarities end there. In total, a gleefully sadistic piece of art that deserves more attention.