digitalconquest

Under discussion:

Natural City  (2004)

While Korea and Japan have both established themselves as leading horror contenders in the last two decades, the science fiction realm of cinema sometimes gets lost. Face it, it’s risky, especially if you have a low budget. Effects, the sets, and acting can all suffer, while if you have a big budget and blow it in the story department, which is more common than not, your movie is either forgotten or written off rather poorly. That’s why it is nice to see a science fiction film come along that works with a large budget while paying attention to all the details. With subtle human nuances, symbolic folklore and a very believable story portrayed convincingly by its cast, NATURAL CITY delivers what can safely be stated as South Korea’s answer to the genre.

Mixing a very emotional storyline that is reminiscent of BLADE RUNNER with MATRIX-like action, Byung-Cheon Min’s epic tale comes across as derivative yet refreshing. R, played extremely well by Ji-tae Yu (OLDBOY, HORROR GAME MOVIE), is a police officer specifically assigned in destroying renegade androids in the year 2080. Unfortunately, he’s falling apart. His love interest just so happens to be an exotic dancing android that only has a few days left until she expires. Meanwhile, the rebellion has learned to infiltrate databases and scientific labs in an effort to find a way to create longevity. With the aid of an outlawed scientist, R funds experiments on his love, Ria (Rin Seo), by selling A.I. chips stolen from injured and destroyed cyborgs on the job while his long time friend and boss Noma (Chan Yoon) sort of looks the other way. When the upper management catches wind of R’s activities, Noma is forced to deal with the situation. But at what cost, as the cyborg revolution rises while the mad genius R has hired has plans of his own? Caught between world android domination and friendship, and lost love and human life, both R and Noma have to come to terms before their world as they know it comes to an end.

That’s the basic storyline minus some excellent and unexpected twists, but what really captures the viewer is the real human emotion by the entire cast. It’s subtle, especially coming from some of the android characters. It builds and what becomes intolerably heart wrenching is when Ria is first coming to terms with her deletion date and enforces her love towards R by telling him that he takes up most of her memory chip and thus is very important to her. The plot and setting is very bleak at times but the love and humor, even from minor supporting roles, comes across as genuine. Not mentioned in this review as of yet is a fourth main character, Cyon (Jae-un Lee), a ghetto prostitute in which R wants to insert Ria’s memory into in order for her to live on. His reasoning has nothing to do with her sexual prowess. Rather, he believes that since she sells her body already, he would be able to give her a much better life, despite the fact she wouldn’t know it after the procedure. What he discovers in the long run is quite different (no, there’s no stupid sappy Hollywood ending, thank God).

Fear not, action fans, because while the main point is the human condition, the battle between men and machine is extremely violent and gory. Heads get riddled with bullets, limbs are torn off and, by the end, it looks like several characters have showered in blood. Director Byung-Cheon Min’s use of close up visuals and tight editing during key fight scenes are extremely effective. Unfortunately, to shake things up, certain scenes go into slow motion ala THE MATRIX, with the irony being that THE MATRIX derived most of its action style from Asian cinema. Meanwhile, the like moments in NATURAL CITY feel more like a U.S. counterpart rather than coming from its own origins. This is a minor complaint when looking at the whole, but I feel it is still necessary to point out due to the fact that this particular style has been so done to death, it almost gets irritating now.

Included with Tartan’s release are several extras, including an excellent interview with director Byung-Cheon Min where he discusses the true meaning behind the title of NATURAL CITY. While several moments are touched on during the movie itself, his theme is only hinted at, keeping it more personal than even the story lets on. However, if you are curious, definitely do not watch the rest of the extras until you’ve watched the movie first as major, and I mean major, spoilers are contained all throughout. The interview itself is contained during the making of featurette, while other cast interviews from three of the main leads is separate. Also included are several deletes scenes, with two being so good that I have to wonder why they were removed in the first place. Make sure and check them out. Rounding out the extras is the original theatrical trailer and several other trailers for other Tartan releases from their Extreme line. On a final note about the extras, for most of you who have read my reviews, you probably already know my snide reaction to fluffy featurettes, especially on blockbuster releases. And while some of that is here as well and to be expected, it was also very nice to see a lot of genuine earnestness and sincerity about their work involved in this long project (the movie took four years from preproduction to the first screening).

Overall, this might not seem your normal Tartan Asia Extreme title, which usually contains more horrific and supernatural elements to revenge filled violent thematic masterpieces such as OLD BOY, but it is a welcomed edition to their collection of fast growing titles. I, for one, highly recommend NATURAL CITY to genre fans.

Under discussion:

Cannibal Ferox  (1981)

CANNIBAL FEROX along with CANNIBAL HOLOCAUST have stood the test of time as THE essential Cannibal films of all time. Many fans of the genre have spent much of their time arguing which is the better of the two with Deodato’s foray usually winning the vote (I still prefer FEROX), but this review will not venture into this debate or the infamous animal cruelty subject as well. The film was meant to shock at an exploitative level and to thrill the audience as an adventure film. “Banned in 31 Countries”, cries out the ad campaign and for once, a film lives up to its reputation. Well, I don’t think any movie has the guts to necessitate a barring from several countries, but if you had to pick a certain subject matter, cannibalism would probably be in the top five. Living with years of bootlegs, Sazuma has put together a very nicely packaged DVD that while it doesn’t have a lot in the extras department, is a pristine print flush with lively color, detailed picture clarity and crystal clear audio.

Simply enough, the story follows an anthropology student, Gloria Davis (Lorraine De Selle); her brother, Rudy (Danilo Mattei) and female friend Pat (Zora Kerova) into the deep Amazon to study primitive tribes and dispel of any theories that cannibalism is still practiced. After the trek throws them some minor hurdles (broken jeep, etc.) they run into Mike Logan (played to the hilt by John Morghen) and his wounded partner Joe (Walter Lloyd). According to Mike they were attacked and taken hostage by a tribe of cannibals while excavating for gems. Their partner, a Portuguese, was tortured and killed via castration while tied up to a giant post. They claim they barely escaped with their lives Brother Rudy feels that something isn’t quite right with their story, but venture on with the two new comrades. They head off toward the river, but circle around until they end up in the village. Once there, Rudy discovers more is amiss than he originally thought. Sure, there are the remains of a victim tied to a post, but the rest of the village contains only the elders, women and children and they seem extremely frightened of their new visitors. With Joe falling ill due to his wounds, the group decides to stay temporarily until he is well enough to travel. This proves to be a big mistake. The men of the tribe return to capture our travelers and immediately tie Mike to a post and perform the same tortures that befell the Portuguese. Meanwhile, Gloria and Rudy find out the truth from Joe. It seems that Mike, during a long bout of cocaine abuse, tortured their new partner, an actual native of the village, and killed several members of the tribe. In fact, Mike Logan is quite insane. The villagers now seek revenge via original torturous ceremonies i.e.: Cannibalism, eating the remains of one’s enemies. From here on out, the film deals with severe torture and the feeble attempt of survival.

Umberto Lenzi had dabbled with cannibalism before with MAN FROM DEEP RIVER and DEEP RIVER SAVAGES in 1973 and seven years later with EATEN ALIVE in 1980. While MAN FROM DEEP RIVER may have more heart in the adventure department as a sort of MAN CALLED HORSE knock off, Lenzi headed off in a different direction later with EATEN ALIVE that dwelled more on the exploitation end. Only a year later after filming NIGHTMARE CITY did Umberto really hone his talent for extreme cinema. With gut pulling and munching, breast piercing, limb severing, castrations and all other kinds of gruesomeness, Umberto delivers the goods in Italian fashion. For all gore connoisseurs and fans of Italian horror, this is one hell of a picture. For those with a weak stomach, stay away. You’ve been warned.

Sazuma’s Limited Edition Tin release was completely remastered and transferred in Ultrabit via DVD-9 and of course comes 16X9 Enhanced for Anamorphic television at 1.78:1. As for extras, you get the original American, German and Italian Trailers, an Umberto Lenzi filmography and eight really cool post cards featuring some nasty scenes from the movie. CANNIBAL HOLOCAUST may have recently received a great DVD release from Grindhouse, but for those fans who can’t get enough Italian gut-munching in their horror diet or prefer FEROX over the other, then I have no problem recommending this exploitation trash to any genre fan of extreme cinema.

Under discussion:

Dead and Deader  (2006)

A Special Forces raid/rescue in Cambodia goes deadly wrong and leaves Lt. Bobby Quinn’s squad brutally killed. When the bodies hit stateside, Quinn wakes up during his own autopsy! He discovers that the rest of his squad has done the same, only they’ve gone completely over the edge into zombie territory feasting on the living. Teaming up with the only one who believes him, an annoying military cook, he must use his keen sense of flesh smell to help stop his comrades before the zombie virus spreads or he can no longer fight his own hunger. This is a one note premise that relies on horror film in jokes and homage’s to older and better movies. Definitely a film for fans of the genre from the get go, you’ll either have fun watching it or despise it. I found myself in the latter camp. How many Thriller video in-jokes do we need at this point? The obvious low budget doesn’t help either (strange because smaller budgets in zombie movie history usually helped). The military camps all look like sparse sets hampering what little suspense there could have been. No atmosphere and unfunny, I can’t recommend this to anyone but those more forgiving than myself.

Under discussion:

Dawn of the Living Dead  (2004)

After a two and a half year stint in a mental institution, Renee moves with her new fiancé (Estevez) to the desert only to be confronted by nightmares that might be real. It seems a family of Mayans were killed in the house a few years back, but because the proper burial rights weren’t given, they are now zombies. Hungry and pissed off, they make lunch out of a couple of criminals and their hostages and then set their sights on Renee, Estevez and Michael, a local worker who has his own plans with Renee. A nice twist on the zombie genre that uses All Souls Day with Mayan traditions, but it doesn’t always work. Some good gore sequences, with the highlight being a nice head decap as the zombie family proceeds to rip off Joe Estevez’s head! Actually shot on film rather than the usual video, Heavener’s film will make several zombie fans happy, but it takes a good 50 minutes to get to the good stuff. Nice but cheap make up. A bigger budget, some restraint and better acting from some of the minor characters would have made this a small classic for most horror fans

Under discussion:

Unholy  (2007)

It seems our government has been in cahoots with a German Nazi scientist who uses families in the suburbs and experiments on them. Specifically he tests the scientific methods behind necromancy by kidnapping people in their sleep. When Adrienne Barbeau’s daughter blows her own head off, Buffy The Vampire Slayer’s Nicholas Brendon shows up as her son to find out why she would commit suicide. They find her taped diaries about the Necromancer and soon neighbors and townfolk around them start acting very odd. People start killing each other or themselves and then it all goes to hell. It’s an interesting premise, but unfortunately the whole thing plays off very convoluted and ends up just a mess. Barbeau and Brendon give it their all and they both do well, but the script and other characters just don’t gel to any satisfying conclusion. The twists are corny and the gore is old school bad looking CGI. Without a script, I can’t really recommend UNHOLY at all. NEXT!

Under discussion:

Them  (2006)

if you get a chance, check out this new French exercise in terror. Based on true events, a couple is tormented during a night of hell by several assailants. It’s a simple enough premise, but the direction, editing and use of sound and shadow are all top notch leaving the viewer completely breathless. The chase scenes are on par with the original Texas Chainsaw Massacre and the ending as shocking as I’ve seen in a long time. The acting is top notch by the two leads, Olivia Bonamy and Michael Cohen as they run for their lives while being trapped throughout the entire running time. This is one exciting adrenaline inducing scarefest that made me nervous. Gorehounds will want to look elsewhere, but if tension building scares is what you are looking for, either check it out on the big screen or get the DVD when released from Dark Sky Films. Who would have ever thought the French would be releasing one of my favorite horror films this year. And I thought Haute Tension was just lucky! THEM comes highly recommended.

Under discussion:

Puzzlehead  (2005)

Walter is an inventor in a bleak civilization who manages to make a replica of himself via an android. But when his alternate “Puzzlehead” manages to befriend a girl that Walter has had his eyes on for some time, things take a turn for the worse. Walter can’t get beyond his reclusive non-conforming lifestyle while Puzzlehead is discovering some of his own personalities and freedoms. James Bai’s Puzzlehead shares a lot in common with Android (Klaus Kinski) but on a much smaller budget. It requires some patience, but it’s worth sticking it out until the end when both characters start playing cat and mouse games with each other for the love of Julia, a girl just as mixed up as both of them combined. Special Effects are minimal but effective and the acting is impressive all the way around. There are no signs of mentally healthy people in this dark movie, thus giving a sort of Eraserhead feeling without being absurd. For fans of indy scifi, definitely try and check it out.

Under discussion:

The Devil's Nightmare  (1971)

One time horror director/writer Jean Brismee gives Erika Blanc (THE NIGHT EVELYN CAME OUT OF THE GRAVE, KILL BABY KILL) a juicy role as a seductress and succubus who spends the night in a gothic castle along with seven tourists, some weird servants and a cursed Baron von Rhoneberg. What we end up with is sort of a mixed bag of European gothic horror clichés surrounded by beautiful imagery and camerawork that sometimes is quite effective, and other times over the top camp thanks to some outlandish dubbing and ridiculous characters.

The story starts out with a World War II prologue as General Baron von Rhoneberg kills his newborn daughter with a large knife during a bombing raid. It seems a curse has plagued the family for centuries as all first born women in the family grow up to become a succubus. Cut to the present as a local reporter/photographer is chased and frightened to death after sneaking some photos of the castle, as the Baron warned her not to. Her body is taken into town where the Mark of the Devil is found on her arm. Later that evening a group of seven tourists are stranded in the nearby town. After asking inquiries from a very odd looking man (Daniel Emilfork from THE CITY OF LOST CHILDREN and KILL!), they are directed to the Baron’s castle to spend the evening. They are greeted warmly, shown their rooms, and during dinner with the Baron, are joined by Lita Muller (Erika Blanc) who also happens to be stuck without a place for the night. Between her slinky dress and sexy demeanor, the evening fills with sexual tension among the tourists, with infidelity, lesbian encounters and temptations running rampant. It isn’t long before we discover that Lita is the succubus. With the use of the Seven Deadly Sins as a motive, she will kill all that are in the castle. Here is where the fun kicks in, as we are witness to several creative deaths ala guillotine, drowning in gold, gluttony poisoning, iron maiden, falling on spikes, etc. Unfortunately, Lita Muller’s greatest challenge is damnation by lust, specifically seducing a soon to be young handsome priest. While this will predictably bring about the end of our evil temptress, this doesn’t stop the proceedings from adding a couple of neat twists, including a deal with the devil that predates THE EXCORCIST by a couple of years!

As stated before, this is a mixed bag with mixed results. While the deaths are fun, they are hampered by what appears to be budget failings. They are gruesome enough for a typical gothic story, but seem tame to other European castle horrors from the same time period. There are a few decent nude scenes, but again, they are tame in comparison with similar films from Italy. The saving grace is Erika Blanc who portrays our local succubus in what has to be one of the greatest and sexy evening gowns in European film history. Another saving grace is her make-up. While simplistic, her transformations into evil are quite effective. In another couple years after the success of THE EXORCIST, many female demons found themselves caked in special effects. This isn’t the case here, with subtle gray/green makeup and effective facial expression, Ms. Blanc portrays evil while retaining her sexual persona quite well. The soundtrack by film composer Alessandro Alessandroni (LADY FRANKENSTEIN, S.S. EXTERMINATION CAMP) is fitting and very memorable. Another standout that should be mentioned is the stunning cinematography by Andre Goeffers who captures the majestique of the gothic castle amongst all the modernizations of today’s society.

Overall, as a Euro-Horror entry, enthusiasts and die-hard completists will find it hard to resist, but everyone else should give it a rent before plucking down any hard earned cash. Salvation’s DVD transfer doesn’t seem to be any different than their 1998 Redemption NTSC release or their Double Feature Disc with COLD EYES OF FEAR they co-released for Dark Side Magazine. You also get the same extras as far as photo galleries, separated this time under film stills, VHS and DVD art, and poster or lobby card art plus the original theatrical trailer. You do get two extra trailers for REQUIEM FOR A VAMPIRE and THE SHIVER OF THE VAMPIRES and a completely unrelated Gothic music video for one of Salvation’s bands called THE NUNS, with their song White Slaves. Back to DEVIL’S NIGHTMARE on a humorous note, one has to ask why all the characters are carrying candles in well-lit rooms, especially after the Baron explains that the castle has been wired for electricity! Oh well, it just adds to the charm.

Under discussion:

Lo Strano Vizio Della Signora Wardh  (1971)

Sergio Martino, an undeservedly ignored director who brought us fun genre films ISLAND OF THE FISHMEN (1979), MOUNTAIN OF THE CANNIBAL GOD (1978), and ALL THE COLORS OF THE DARK (1972), really put together a first rate cast for this, his first venture into the thriller genre. So much so that he would work with them many times again. While Martino never got the long-term credit in cinema history alongside Dario Argento, Lucio Fulci and Mario Bava, he did manage to make many successful exploitative films that helped kick start several genres. His contribution is definitely there and even imitated. For gialli fans, this film has been seen truncated and under many different titles. Now comes No Shame Films’ release on DVD, uncut and remastered for the first time.

Edwige Fenech stars as Julie Wardh, a confused, lonely and beautiful woman married to cold politician Neil Wardh (Alberto de Mendoza). Neil seems to mean well, but is never around and when he is, he just isn’t emotionally supportive. In fact, Fenech doesn’t really love the man or even find him exciting. He was a means to an end in order to escape her stalking boyfriend Jean, played to his usual hilt of menace by Ivan Rassimov. In fact, it’s her past that brings about the paradoxical title. Fenech’s character almost seems naïve in nature, especially when compared to her best friend Carol (Conchita Airoldi), who doesn’t have a care in world. To Carol, sleeping with anyone is just another adventure. But, under the past influence of Jean’s dominating control, Julie’s repulsion and sexual fascination with blood kept her in a dangerous relationship until she managed to break from his clutches. Unfortunately, Jean is back in town and up to his stalking practices. In a confused state, Julie soon turns to newcomer playboy George (George Hilton) for love and attention to make up for her husband’s lack of affection and protection.

Outside of the Fenech’s triangle of lovers, past and present, there’s a killer loose, stalking and slicing up women. When one of the women at a party Julie and friends are attending becomes the latest victim, Julie turns to the police and tries to convince them that Jean should be a suspect. Red herring? Maybe, but you never know with a screenplay by Ernesto Gastaldi! Soon, Julie is being stalked, even blackmailed, after the supposed killer witnesses her during the flames of adulterous passion with George. Of course, Rassimov’s character seems to have all the motives and opportunity, but nothing is as it seems on the surface. Soon, Julie is running off to Spain with George, Jean is found murdered, and the supposed killer is slain by a would be victim, but the plot twists are just starting. To divulge more would be a sin, so I’ll just stop there. Julie Wardh’s peril is just beginning.

Those who already know me personally can attest to my fascination (or should I say obsession) with actress Edwige Fenech. For those who may think of this as a biased review, I can say that Fenech is absolutely stunning here, which in all cases, I admit, makes it biased to a certain extent. Despite that fact, this is an excellent gialli title for any fan of the genre. Each actor portraying their characters never let up in their hidden agendas, despite the outrageous and satisfying conclusion. The twists in Gastaldi’s screenplay never come out of left field or play into the usual Freudian trappings (despite the Freud quote that opens the films opening murder). We don’t get an abrupt ending with some killer loosely placed into the storyline with the usual, “mother dressed me up in girl’s clothing,” or vengeance due to some psychological terror from the killer’s past, etc. that plagued some of the later gialli titles of the 80s, which quickly depleted the genre into a rightful obscurity. While critically panned upon its initial release, THE STRANGE VICE OF MRS. WARDH has stood the test of time with its box office success. This proves that most critics paying attention during the early 70s weren’t ready (most said that the film was too sexual and violent) for the next 3 decades of cinema. Thematically it’s perverse, has moments of brutality during certain key murder scenes and an abundant amount of nudity, but nothing of what was to come in the genre.

No Shame’s DVD comes digitally remastered from an original negative and is restored at its original 2.35:1 aspect ratio and 16X9 enhanced. Both the Italian track with optional English subtitles and the English dubbed track come in Dolby Digital Mono and really enhance Nora Orlandi’s excellent score. Extras include a featurette called Dark Fears Behind The Door, which features interviews with Sergio Martino, producer Luciano Martino, Ernesto Gastaldi, George Hilton, and the still very stunning Edwige Fenech. Rounding out the extras are a poster and still gallery, an eight-page booklet including liner notes and talent bios, and the original Italian theatrical trailer. Basically, to sum it up, giallo fans take note: This is the release to get. While imitated for years after its release, THE STRANGE VICE OF MRS. WARDH was never surpassed and probably stands as one of Sergio Martino’s best thrillers. Therefore, I wholeheartedly recommend it for all gialli and Eurocinema fans.

Under discussion:

The Woods Have Eyes  (2006)

Several city slickers head off to the back woods for a weekend camp trip. Apparently, it’s a yearly trip for many of the families and most know about the legend of crazy Cappy, the backwoods butcher. When two of the older teens think they’ve discovered the loony’s cabin, they head off into the woods with their younger brothers to give them a good scare. Unfortunately, Cappy and his clan are waiting for them, including one son who is mentally retarded due to a car accident as a child. It isn’t the worse Hillbilly horror I’ve sat through, but it isn’t very good either. The direction and acting is hit and miss but above norm for the particular budget and amateur filmmaking at hand. Some of the gore is effective, including a knife through head out the eye and a decapitation, but the rest is scarce and the most effective part of this particular feature is the fact that our hick bad guys are truly huge characters, making them somewhat more frightening and believable than your average miscast SOV project. Unfortunately, it’s all by the numbers and never disturbing. You’all never come back ya hear!

Under discussion:

Plasterhead  (2006)

Four college kids, driving across country to Florida for winter break, end up on a back road and stuck in a town called Rollin Glenn. After ending up in a rural farmhouse, they discover the legend of Plasterhead, a man who also made a pit stop there fifteen years before only to be beaten beyond recognition and left for dead. The townsfolk and the sheriff bury the evidence and now using Plaster to cover his disfigured face, he’s back to kill Leatherface style. This is pretty much your “by the numbers” slasher-flick that supplies just enough intelligence, nudity and gore to make it a passable timewaster. For such a low budget, director Higgins and Cinematographer Jeffrey Kayal put in enough talent and professionalism into their production they can making it rise above the usual slasher fodder. Unfortunately, some of the acting doesn’t rise up as high as the rest of the movie. The leads do okay, nothing really standing out, but some of the supporting acting is so amateur, it takes you right out of the story. Definitely worth a rental for all you slasher completists, everyone else might want to give it a miss.

Under discussion:

Zombie Town  (2007)

Jake and his brother are down on your luck garage owners who take a job towing a truck from the mountainside. When they get there, they discover the owner’s cabin covered in blood and are attacked by a zombie. After his brother is bitten Jake runs back into town looking for help after hooking up with his ex-girlfriend, soon the whole town is infected by these parasites that make them turn into flesh eating zombies. We’ve all seen the small town zombie infestation movies, they’re a dime per dozen, but if that doesn’t stop you from seeing them all, then definitely check this low budget shocker out. It isn’t original, but it does deliver the gory goods. Some of the acting is stiffer than the decomposing bodies and the hick humor falls flat, but the chumming from the ice cream truck to attract the zombies into a salt water facility is priceless (despite being done in Return Of The Living Dead 2). I actually enjoyed it, so I have no problems recommending it to Zombie Completists and Gorehounds. More discriminating horror fans may want to look elsewhere.

Under discussion:

Vampira: The Movie  (2006)

Not to be mistaken for some sort of biopic on the life and times of Vampira, this is a documentary/interview with the reclusive woman herself. Three years in the making, director Kevin Michaels spent time becoming her friend, creating confidence and finally taping hours and hours of Maila Nurmi talking about her life. Now condensed to a mere 70 minutes, one wishes for more, but what we are left with is pretty good stuff. She’s mellowed over the years and talks frankly about her own vanity and mistakes over her career, not to mention sleeping with Marlon Brando and being friends with James Dean. Michaels manages to make her seem so comfortable, it’s hard to believe she is a recluse and the reported “snob” nasty lady that was rumored to be. Along with her, we get other people’s insights into her career and influences from the likes of Forest J. Ackerman, Sid Haig, Bill Moseley, Lloyd Kaufman, Debbie Rochon and even Cassandra Peterson (!). This is a great documentary that I highly recommend to fans of Vampira and even Ed Wood.

Under discussion:

Apartment 1303  (2007)

Sayaka is the latest victim to fall to her death from room 1303. It seems that every single young girl that moves in plunges to their deaths. Her sister does not believe that her sister committing suicide is possible and with the help of a local detective, she manages to discover some terrible secrets behind the apartment. The original suicide was an abused daughter who killed her own mother and lived with the corpse for six months before diving off the balcony. Yes, it’s another J-Horror ghost story with the usual trappings and now tiresome clichés. At this point, I don’t think you can’t expect much more from the original author of The Grudge and the director who brought us Tomie. I have to admit, the production values are darn good and the finale really heads into the long black hair ghost thing so much to the extreme I couldn’t wait for it to go into Evil Dead mode, which it almost does but then fails miserably. Nothing else is new here, but fans of these who haven’t tired of the now almost 20-year old genre of Asian ghost cinema will appreciate it. All else will yawn and find nothing to raise the goose bumps on the back of the neck. That is too bad because Apartment 1303 isn’t terrible, in fact it is pretty good, just predictable and old news.

Under discussion:

The Slit-Mouthed Woman  Production Year

The Asian Pink genre meets J-Horror. This time around, the original legend of The Slit-Mouthed Woman is changed into a tale of revenge for those that have sex in her hospital room. A reporter for a weekly magazine is sent to cover their horror section (she usually covers beauty and sex) only to find her own sister soon becomes victim to the legend when the Slit-Mouthed Woman kills her boyfriend while they were having sex. During the investigation, she discovers a terrible secret inside a cosmetic surgery hospital that has been shut down for three years after most of the patients and staff disappeared. Will she be able to help the evil be excised before her sister loses her mind or will she fall prey to lots of sex and possession herself? It’s a Pink film, so you can probably figure it out. At barely over an hour, the sex scenes are decent, the deaths are not being mostly off screen. It does manage some spookiness, but not enough to deliver the goods. Entertaining for fans of both genres, the rest of us don’t really need to watch when others are much better. Seek out Carved for a better version of the legend instead

Under discussion:

Henry: Portrait of a Serial Killer  (1990)

This is the infamous film that took almost five years before it finally got its original VHS release. It’s the serial killer film that was heralded by top critics, including Siskel and Ebert, as groundbreaking and terrifying. The film caused the MPAA so much grief they gave it an X rating, though they found nothing to specifically cut. Everything in the film had been done before in lesser efforts, yet the tone and atmosphere was so strong that it literally frightened and disturbed mainstream audiences. Back in the late 80’s and early 90’s, this was certainly true compared to other offerings at the local video rental outlet. The question is: Now that we’re in the new millennium, does the film still hold up? It certainly does in this reviewer’s eyes.

In the last decade, there’s been a rash of serial killer flicks to hit the DVD shelves. I haven’t been a fan of most of them. The best of the bunch being Matthew Bright’s 2002 release of TED BUNDY (reviewed by Craig Hamann in Cultcuts Issue #3), hits most of the dark disturbances that qualify as effective, but considering the template set up by HENRY back in 1986, nothing has come close. HENRY is certainly more terrifying than the rip-offs that followed, more disturbing than the slashers that preceded it, and more realistic than most of Hollywood’s thrillers. The film permeates with a cold dark realism and a calculated brutality that only a killer could probably identify with. If there is any way I could recommend this movie more, it would only be by stating that it is in my top 100 favorite and most terrifying films of all time. Considering the fact that I’ve never understood nor cared for the Pop-Culture fascination of serial killers, real or fiction, it stands as a testimony, at least to me, at how well executed HENRY really is.

Loosely based on the true events and lifestyles of Henry Lee Lucas and Otis Toole, who claimed to have killed over 600 people, McNaughton’s tale is a very well written, acted, and directed film that uses its documentary style and low budget to full effect. Not ladled with a ton of special effects or clichéd movie jumps and scares, the film relies more on its matter of fact filmmaking, and it works. Another standout decision was to have Henry unpredictable and quiet. Just when you think he is going to pounce on another victim, he just casually walks on. It isn’t easy deciding who is the more terrifying of the three main characters. Is it Henry, who kills without prejudice, joy or malice? Is it Otis, who harbors incestuous lust and the joy of following and destruction with total happiness in his perversion? Or could it even be Otis’ sister, Becky, who is capable of blindly falling for someone like Henry in the first place?

If you know someone who believes nothing can happen to them, or they keep their doors unlocked or are too trusting, then show them this film. Tell them it is based on fact. It really is that terrifying. Not since Truman Capote’s IN COLD BLOOD or Richard Fleischer’s COMPULSION has cold-blooded murder been portrayed so realistically in an American film. The acting by all three principle players – Michael Rooker, Tom Towles and Tracy Arnold – is top notch and really holds the film together for this style of filmmaking.

MPI’s original DVD came with the original trailers and an interesting lengthy recollection/interview with director John McNaughton. Unfortunately, this original release had several artifacting problems and a lousy transfer. In all fairness, HENRY’s original transfer to disc came pretty early at the beginning of the DVD boom. This new 20th Anniversary Special Edition 2-Disc release from Dark Sky Films, which is owned by MPI Media Group, is a revelation in comparison. The film itself is crystal clear, considering the high definition transfer comes from an original 16mm negative source. It may not look glossy in its presentation, but the original 16mm grain adds to the atmosphere. Thankfully, the movie was restored and not reworked for a more “Hollywood” look. The first disc, which contains the feature, also includes a commentary by Director John McNaughton, theatrical trailers and a still gallery. The second disc comes with two lengthy documentaries, one featuring the making of the movie and another focusing on the real Henry Lee Lucas. Also included are deleted scenes and outtakes with McNaughton’s commentary and original storyboards. Extras aside, this new transfer is worth the price alone to replace the original DVD release. I have no problem recommending HENRY: PORTRAIT OF A SERIAL KILLER to fans familiar with the genre or even to those who haven’t ventured into the dark side of psychological cinema.

Under discussion:

The Hazing  (2004)

If you are reading this review, then most likely you already are a genre fan from one spectrum or the other. I imagine that if you are checking out any review on any website dealing with horror with the term “Hazing” in the title, then chances are you either take risks watching films (you have to see them all, you know who you are) or you aren’t the most discriminating fan. But this review is meant for yet another kind of fan, which is one who is in the mood for a new title but also something that just drips with that 80s teenage horror feel. I’m not talking today’s teenybopper trends or even SCREAM. We’re talking HELL NIGHT, Tobe Hooper’s FUNHOUSE and even FRIDAY THE 13th. Director Rolfe Kanefsky, well known for his sexy horror and scifi spoofs such as THERE’S NOTHING OUT THERE and SEX FILES: ALIEN EROTICA, puts most of the tongue and cheek aside (figuratively, not physically) in his latest horror outing, THE HAZING.

Thankfully, the film’s horrific atmosphere still manages to capture the fun of many 80s outings that most fans crave and love. Despite mentioning in an interview on the DVD that he was avoiding the clichés, director Kanefsky hits most of them on the mark but somehow it doesn’t feel stale. Nor does it breathe any new life into the subject either. It does, however, feel like the comfortable section of your couch. You know the one. The spot that makes you stand and tap your foot until your friend, relative or significant other moves over. You get chainsaws, possessions, Brad Dourif, naked babes, an oral sex tongue this side of Stuart Gordon’s FROM BEYOND, beheadings galore, gore and a fraternity hazing gone straight to hell. Sure, we still get some of the usual awful jaw-dropping one-liners from the bad guys, which I call Kruegerisms (again, blame or love the 80s), and moments that defy pure logic even for the stereotypical college characters found in such outings.

Story-wise, the movie has a lot in common with the HELL NIGHT set up as it slowly turns into NIGHT OF THE DEMONS with less irritating teens. The local sorority and frat team up with their new co-ed pledges for a Halloween night of partying, hazing, games, booze and sex. First off, it’s a scavenger hunt with the most valuable prize being professor (Brad Dourif) Kapp’s prized demonic book. Unfortunately, two of our most ambitious pledges stumble onto Kapp’s diabolical scheme of killing young naked sorority girls and chanting satanic spells in order to go to “the other side” only to return as a powerful spirit. Needless to say, they find his victims and accidentally kill the professor. Instead of going to the police (remember my logic statement), they keep it their secret, grab the book and head off to the final meeting place at an abandoned, supposedly haunted house. You all see where this is going, right? Yup, Kapp is still around, only now he’s possessing one body after the next and having a lot of fun hacking, sexing, killing, and other general outrageous diabolical shenanigans.

None of the past teen horror flicks were perfect then, so don’t expect perfection now. THE HAZING may never become the modern teen horror classic that HALLOWEEN or even NIGHTMARE ON ELM STREET was back in the day of slasher yore, but it shouldn’t be ignored either. A couple of predictable twists aside, the ingenuity of the crew and a talented enough cast pull off what ends up being an entertaining thrill ride. True, most of the time movies such as this try to be too hip or poke fun at the genre. What they ultimately end up doing is insulting the audience and, most of all, the fans. I’m happy to report that overall this is an arousing, fun, fast and sometimes gory little horror film with some accomplished effects and stylized direction. Dourif isn’t around as much as one would like, but enough shots of Tiffany (DETOUR, TED BUNDY) Shepis’ derriere in the buff or in her skintight costume will keep most horror-hounds pleasantly preoccupied. Trust me, she’s a talented actress as well as easy on the eyes.

As part of MTI’s REDRUM horror DVD series, this one definitely stands out alongside their releases of DETOUR and THE BUNKER as the best in the bunch and it doesn’t skip on the extras either. You get two separate commentaries, one with director Kanefsky and producer Tom Seidman and the other with most of the lead cast. There are two featurettes with behind-the-scenes tomfoolery from cast and crew, several deleted and expanded scenes (mostly expanded), and a good half dozen horror trailers for other Redrum titles. If you are looking for a rousing throwback to an era long gone, but don’t feel like watching one that you have memorized from opening to ending credits, there’s much to enjoy with THE HAZING

Under discussion:

Baby Blood  (2006)

Gorehounds rejoice! After years of bootlegs and the domesticated U.S. print known as THE EVIL WITHIN that was shorn of a couple minutes of gore, BABY BLOOD comes out uncut from Anchor Bay. Do those couple of minutes make a difference? You bet, if you’re a fan. If you haven’t ventured into this French sicko pregnancy tale of woe, now you can see it the way it was meant to be seen.

Now, there’s a reason why I started this review with “Gorehounds rejoice!” Because, when all is said in done, that’s pretty much all Alain Robak’s movie has going for it. Sure, you can talk about the cinematic symbolism of women’s sexuality, or repressed anger towards the evil of man and even humankind in general. That’s all there, but all of that seems like an afterthought when the final credits roll. It's another hypocritical turn, much like I’ve spouted about titles such as I SPIT ON YOUR GRAVE or CANNIBAL HOLOCAUST. In BABY BLOOD, all the men are scum and the obvious message of the hunters vs. female is all fine and dandy, except Alain Robak seems to delight in showing us Emmanuelle Escourrou’s body in the flesh any chance he can get. She gets out of bed to have a smoke and it’s all about the full frontal nudity. Now, don’t get me wrong, I have no problem with naked women in cinema! But if you’re going to make an exploitation film filled with nudity for all of us scum to ogle at, then don’t give me a message telling me that it’s awful at the same time. Enough said, I’ll now get off my soapbox.

Another reason the blood and guts serve so well with BABY BLOOD is the simple fact that nothing really happens in the short running time. Yanka (the sometimes beautiful, sometimes ugly Emmanuelle Escourrou) works for the circus. The latest acquisition is a leopard that just happens to have some sort of evil entity inside of it from the dawn of time. Why? Doesn’t matter. It needs to be born in the flesh to make its way back to the sea where it can evolve to replace man in about five billion years. Oh yes, it’s also evil. It explodes from the cat (a very nasty scene for animal lovers) and worms its way to Yanka’s crotch while she sleeps. She awakens pregnant and leaves her abusive boyfriend, who owns the circus, and heads into the city. Now there, she has conversations with her fetus, as it demands to be fed human blood. She argues, it hurts her, so she gives in and kills. Heads get smashed in and torn off, throats are slashed, and we watch a naked Yanka covered in blood a lot. As the 9 months pass, this is ALL that happens until the final 10 minutes after the birth. At that point there are a few minor surprises, which I won’t spoil here, but nothing all that shocking. That’s the story. Yanka gets pregnant by evil, feeds it blood and then gives birth. A plot in one sentence without much depth or twists. Hardly a recommendation, but fans love it nonetheless.

The special effects by Benoit Lestang (WAX MASK, BROTHERHOOD OF THE WOLF, THE LIVING DEAD GIRL) are especially gooey and effective. And for that alone, I can probably recommend BABY BLOOD to those gorehounds who don’t need much more than that from a movie. Director Robak keeps things at a fast pace and manages to use some excellent grimy sets that highlight the seedy side of France, considering the lack of plot during the short running time. This gives the proceedings some atmospheric moments, but none that will give any chills or disturb the viewer any (at least not the jaded viewers like myself). In the end, it’s all about blood, nudity and gore. It wants to be an artsy French horror film. Compared to some of the others out there, I guess it is, because most that I have seen are empty and simplistic, yet play out arrogantly, as if they were important pieces of cinema superiority.

Anchor Bay’s presentation is excellent, boasting a clear, clean and crisp picture with good sound quality. Much like their DEEP RED disc, the English dubbed version includes the cut scenes in the original language with English subtitles since they were never dubbed to begin with. Or you can watch the French version complete with English subtitles. There’s not much in the way of extras outside of the original theatrical trailer and a few teasers from the Anchor Bay catalogue. It doesn’t matter really, since the important thing here is another rare release hitting the shelves uncut, especially considering that many gorehounds love it, and to have it uncut and presented properly is what DVD should be all about. Throughout this review, I may have seemed a tad harsh, which I think BABY BLOOD deserves, but in the end, I think all horror fans should at least rent it and decide for themselves. So this gets a rental recommendation and a wholehearted purchase for those who just love lots of gore. It definitely is a messy and grimy film. It may not reach the heights of REANIMATOR or DEAD ALIVE but it will do.