Phantasma-gore- ia
Posts 118
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8/27/2009 10:52 PM
posted awhile ago
Re:The Gorehouse
Here goes:
What you're looking at is not for the faint of heart. It is a shameless compilation of extremely detailed and fearless looks at the most brutal, gory, shocking, sickening and violent scenes to be shown on the big and small screen. It is constantly being updated as new films arrive and I discover old ones, as unrated cuts are unearthed and the arcane becomes available. As it is, for the films currently included, it is a thorough record of the grisly gore and painful violence exacted on the poor souls forced to inhabit them.
No, not all of the movies included are gems. Some are, in point of fact, quite bad. For the most part however, the films listed are decent fare with more than a few real winners and several pure gold. Quality aside, Blood, Guts and Gore considers things people can agree on: watching displays of violence and bloodshed is disturbing and gets attention. Any doubters of this I refer to their local news.
I’m not here to impart a lesson or to speak out against these savage and horrific acts for this: they’re not real. It’s smoke and mirrors make-believe and the charge for real life violence and death falls not on the authors of gritty, coarse novels and filmmakers but on those who can’t tell what’s right from what’s wrong and it’s as simple as that. Therefore, I wish to expose you, the reader, to a mesmerizing level of detail in talking about the most awesome scenes of what the subtitle states: blood, gore, extreme violence and disturbing images. It isn’t a social commentary on the depiction of brutality in America or anywhere else in the world, a deeply philosophical take on human aggression or anything but a straightforward project with a specific aim: frightening and horrific things. Put simply, it was something I thought of doing and I did it. J
There is however a strong case for making certain points here and again, which I do. This is because to a lot of people there is something to be said for those who make and those who watch not just horror but films that carry such elements. To them, anyone who makes or views such things must have something wrong upstairs, a sickness of some kind. Truth is, that may go for a number of cases worldwide but at the same time it’s not everyone. Many people who film, write, watch and/or study horror or similar genres are stable people who simply like a good jolt now and again with perhaps a touch of grimness for a thrill.
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Phantasma-gore- ia
Posts 118
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8/28/2009 10:27 PM
posted awhile ago
Re:The Gorehouse
That is hilarious indeed, but it should read "the content can affect and infect your mind". ;) Anyhow, here's the breakdown for Lucio Fulci's City of the Living Dead:
City of the Living Dead
aka: paura nella città dei morti viventi
year 1980 directed by lucio fulci
starring christopher george, katriona maccoll, carlo de mejo
Qs: 12. AR: SSSSSSSSSS
0:10:30. A rotting corpse in a highly advanced state of decay, complete with worms. SR: SSSSS
“THE BODY PURGING” 0:31:30. A girl’s eyes start to bleed…then it gets really sick. She starts to foam at the mouth as if rabid, the foam quickly turning red and then into strange things: intestines – yards and yards of them – and then organs of several shapes, sizes and colors. In time, the girl vomits up her innards while the specter of the suicidal priest stares her down. After the body purging, a hand reaches into the boy’s hair and grabs out a chunk of his brains, leaving a grapefruit-sized hole. SR: ããããã
0:34:48. A writhing pile of I-don't-know-what. SR: SSSSS
0:42:14. An unscrupulous funeral director has a bite taken out of his left wrist, apparently by a discontented corpse he was trying to steal from. SR: SSSSS
0:54:30. Walls bleed…a sure sign something is amiss. SR: SSSSS
0:58:30. Mr. Ross takes on some vigilante justice and bores Bob’s head with a rather substantial drill in his garage. SR: SSSSS
1:02:23. A maelstrom of maggots, millions of ‘em, spray in through an open window. The idea and the feel of the squirming things causes one woman to throw up (no organs this time.)
1:04:43. Blood drips onto the dinner table from where it soaked through the ceiling. SR: SSSSS
1:08:30. Another handful of brains…yummy. SR: SSSSS
1:20:20. A feast of the dead leaves three bodies in its wake. SR: SSSSS
1:22:15. A third handful of brains (seems to be the preferred method of execution) is extracted and rats feast in the gaping hole. SR: SSSSS
1:23:21. A jab into a zombie draws blood, but saves a life. SR: SSSSS
1:28:10. Another jab into a form of the undead (this time the ubiquitous but still deceased Fr. Thomas) is a gooey one, slime and ooze of all sorts falling out of the hole just before he and his army of walking corpses collectively burn to cinders. SR: SSSSS
And for Hostel:
Hostel
year 2006 directed by eli roth
starring jay hernandez, derek richardson, eythor gudjonsson
Qs: 13. AR: SSSSSSSSSS
0:01:15. This is the way horror fans like it – sick and straight off the top. It’s clear some sort of cleanup effort is going on, but what’s being cleaned isn’t clear, but rather pink as in diluted blood being carried away by suds, washed off of tile walls. In a later shot a gooey mixture of blood, teeth and who knows what else circles a drain. SR: SSSSS
0:33:20. “I go home.” Yeah, right. Oli’s head is shown as the shot widens to be detached from his body, shown to be a pile of gore in the background. SR: SSSSS
0:41:57. Josh wakes up in hell, a bag over his head. The bag is removed and his own private Satan starts the show. Picking up a hammer drill, the man bores four holes in his victim’s body: two in his chest just above his pecs and two on his legs, one in each thigh. When he puts the tool back on the table, it has twists of reddened flesh spiraled around it. After informing him about why he was even in that position, the man slices both of his Achilles tendons and feigns letting him go before stopping him at the door, dragging him back and slitting his throat. SR: SSSSS
0:56:58. Remember the guy who wanted to be a surgeon? He gets his wish – at doing an autopsy at least. Josh’s body is on the table before him, his chest opened up, blood everywhere. Look carefully on the close-up: a good part of the skin on the back of his left hand and going up his arm to the elbow has been removed, tendons and musculature visible. SR: SSSSS
0:58:01. While Pax is being dragged off to his hole, we see many interesting things in the rooms he passes by: a well-bled victim getting his neck cut open; two anonymous female victims and a man being beaten severely about the head. SR: SSSSS
1:04:20. Pax’s torturer revs up a chainsaw and holds it in front of his face for a few seconds before he starts to vomit past his ball gag. Once that’s over, the man slices off a good chunk of Pax’s hand, two fingers bouncing on the concrete floor, blood pouring. Slipping in the blood, the chainsaw man falls hard to the ground and the revving tool starts carving into him, burying its chain deep, cutting his leg in half, blood simply flying from the massive wound. To put an end to the matter, Pax fires a round straight through his head. Personally, I would have carved the turkey up with his own weapon of choice, but that’s me. SR: SSSSS
1:05:54. Pax puts down the guard and picks up his fingers. SR: SSSSS
“THE CORPSE DISPOSAL UNIT” 1:07:05. A room Pax stumbles into while trying to evade the guards he soon discovers to be corpse disposal unit where used bodies go to be processed. Shortly, a man comes in and Pax has to think quick. Stowing away on one of the body carts, loaded with corpses, Pax can merely hope he won’t be discovered. Along the way (1:07:54) he passes a room painted thickly with blood, the whole messy scene being hosed down, awaiting the next victim. After they descend in an elevator, the cart-pusher tries to get the load of bodies off, but somebody’s hand is stopping him. After picking it up and stuffing it by Pax’s head, the man rolls on into the chop shop. Plucking a body off of Pax, he uses inordinately large cleavers to hack the meat up for easier handling, carrying a tray of gore off-screen and dumping it. When Pax opens his eyes, who does he sees but his lip-stitched friend Josh on a nearby table. Picking up the next body, Pax loses his fingers and has to fumble around, trying to keep movements minimal as possible, to retrieve them. Going into a leg with a grinder, the man turns around in time enough to pick one up and haul it off with everything else in the next tray-full. A brief shot follows of his table of gore, several legs strewn about, flaps of skin and muscle draped over the side, blood everywhere. Various blades and axes are held up on the wall behind, awaiting the next body to divvy and ditch. We find in the next shot what’s being done with the personal pieces: one by one the large guy is tossing them into the fire. Pax sneaks up on him and when he turns around beats him one good time in the head with a large hammer of some type, then takes off. SR: ããããã
1:17:35. The man who accosted Pax in the dressing room is busying burning Kana’s eye with a blowtorch. As he turns around to tell Pax to buzz off, we can see the organ is hanging from its optic nerve, greasy blood filling the hole where it used to be. Pax shoots and kills him before tending to her. Trying to help in his small way, Pax picks up a small pair of scissors and cuts the nerve the eye is dangling by. A run of a custard-yellow, watery substance pours from the spot down the screaming girl’s face, joining the blood. SR: SSSSS
1:21:14. When Pax and Kana fly the coop, they come upon who else but the two degenerate women who led them along the whole time and the creep who recommended the hostel in the first place. Pax floors it and slams into all three, killing one right away, juicy red running in a stream off the sidewalk. The other girl doesn’t get a lot of time to contemplate what happened before a speeding car driven by the men after Pax her all over the street, dragging her body for a short way. SR: SSSSS
1:22:05. Being called to pay the toll, Pax and Kana got by with a bag chock full of sweets. When the bad guys come by that same way, they are far less fortunate. First they clobber them with large rocks, then they beat their heads in with large heavy things. SR: SSSSS
1:24:45. Just when Pax thought they had it made, Kana sees her reflection at the railway station and gets an idea just how disfigured she is. She reaches up toward her destroyed eye, but gives up before she gets close. Turning away resignedly, she looks at the front of the first oncoming train and leaps directly in front of it, splattering herself across #742 288-4. Her head gets crushed into a gooey blob by the wheels, squashed like a grape, her blood splattering bystanders. Two points are for the red visuals, the third for the idea of girl being hit by a train like a fly by a windshield. SR: SSSSS
1:28:15. Pax just keeps having the luck, doesn’t he? Dripping with serendipity, he happens upon who else but the intellectual on the train who wanted to be a surgeon. Following him into the restroom and locking everyone else out, Pax taunts him from a nearby stall with a business card for Elite Hunting. When the man realizes somebody knows, he starts to freak, but doesn’t get far. When he reaches for the card, Pax seizes his hand and slices off the same two fingers as those he lost. Pax then kicks in the door, slams the man’s face down in the bowl he was just sitting on (think about that for a moment), holding it there until he near drowns. Pulling him back, Pax lets him get his first, last and only look at his killer in a reflection in a dispenser before he slits his throat. SR: SSSSS
The rating of a perfect 7 is upgraded to a 8 based on the very concept of being able to pay money to torture as sickly as you want and then kill a person, free to do whatever to the corpse for as long as you like. It’s a diseased idea and wicked follow-through. It does chill me deeply to consider that somewhere in the world, unthinkable inhuman tragedies like these play out every day. If you’ve heard the hype, it was “based on true events,” but these extend no further than to Quentin Tarantino (surprised?) who reportedly discovered the site, triggering Eli Roth to spin the idea into a feature-length film. Whether or not the site was for real not even they knew, but it wouldn’t surprise me if it were.
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Phantasma-gore- ia
Posts 118
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8/29/2009 8:53 PM
posted awhile ago
Re:The Gorehouse
If everyone's ready, here's the first one:
A History of Violence
year 2005 directed by david cronenberg
starring viggo mortensen, maria bello, ed harris
Qs: 4. AR: SSSSSSSSSS
0:04:45. At the mark we have our first clear signs that some very bad things have happened in the motel office. Billy walks around with a water jug he was instructed to fill and in the process he wanders around what has become a crime scene. Four smears of blood in the form of a person’s hand streak the desk and a man in the background slumps in a chair, brutally stabbed. As Billy moves, we see a woman lying behind the counter, throat cut, much blood pooled about. SR: SSSSS
0:23:50. Two men (the same as in the opening) barge into Tom’s diner (not on the corner) and demand more than after-hours service with coffee and pie. Leland pulls a gun on Tom, but when he instructs his cohort Billy to dispense with a female patron, Tom refuses to stand for it. He smashes the coffee carafe against the side of his head, jumps the counter, picks up his gun and kills Billy whose body falls through the glass of the front door. Leland pulls a boot knife and jams it in Tom’s foot. Tom wheels around and blows his jaw off with his own gun. Suddenly, it’s over. SR: SSSSS
0:55:10. Tom’s second act of violence is polishing off Carl and his henchmen on his front lawn. After gentle encouragements (and the leverage of abducting Tom’s son), Carl suggests Tom do as he’s asked. Tom would rather not and thus after politely making a request of his own, that Carl and his men beat it, Carl flexes his muscles and dispatches a man on it. After he pulls a gun on him as a final attempt to get him to go with them, Tom wraps his arm around the guy’s, breaks it at the elbow, chops him in the neck and proceeds to ram his open palm up into his nose four times, shattering it and forcing the shards up into his brain. With his gun, he shoots down Carl’s right-hand man before taking a hit from Carl himself. Crawling toward the weapon, Tom is powerless to stop Carl from kicking it away, requesting any last words he might have. Saying them, Tom lies there and waits for whatever would come next. When it did, it wasn’t from any direction he might have predicted – Jack picks up Tom’s shotgun and blasts Carl away, spattering his father with his blood as he goes down. SR: SSSSS
1:24:10. Answering a late-night phone call, Tom realizes things aren’t going to stop following him and that he must do something about it. He drives all the way out to Philadelphia to see his brother Richie before he comes to visit him. Ruben comes up behind him with a wire garrote and tries to wrap it around Tom’s neck, his left hand getting in the way. As Ruben struggles and continues to try to work away on his victim, Tom pushes off the desk and tumbles backward in his chair, kicking upward into Ruben’s jaw. He then breaks the other man’s leg at the knee before using his own on Ruben’s nose, thereafter chopping the first guy in the throat before elbowing Ruben, again in the nose. Richie calmly reaches for his gun from his top-right drawer while Tom stomps on the first’s neck, once hard. A third man comes in to save the day, but Tom breaks his neck before fleeing the scene. Noticing the door ajar, Richie heads outside to see if he can find where Tom ran off to, leaving a fourth man inside. The door suddenly slams shut, sealing him in. Tom breaks his nose with his forehead before shooting him point blank in the chest. Opening the door to his “brother,” Tom stares him down deliberately before putting a quick shot through his head. SR: SSSSS
It’s interesting to note, I think, that a film called A History of Violence could be rated only a 2. As the above testifies, it’s not per se a violent film but a study of the effects of violence on a small town and on family structure.
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