Too gory for the popcorns

Argento's best known film is probably his most expressive. This is a gem to look at with all it's lush Italian colors seeping out like a blood covered canvas. If you are looking for a horror film for intellectuals, this isn't it, but if you want something that will definitely impress you, you've found it. It concerns an old dance company in Freiburg Germany that is headed up by an old witch matriarch who leads the coven in diabolical methods. An unsuspecting student, played wonderfully by Jessica Harper, finds herself piecing together a mystery when she arrives at the school in one of the most enigmatic and beautiful commencements of a film to date. Argento has music, colors, and sounds reverberate like an opera for our eyes to dazzle. He scares us with the rain, the closing of an automatic airport door, and loose tree branches that resemble evil lurking beings. This is one powerful moment. From then on, subtle hints are explored, the supernatural, science, one's faith. Never can we guess what is truly hiding at the academy. One scene of the dance students in the hall is superbly done with loud music, hideous heckling demonic shrieks and strange appearances, this is fantastic eye candy!

Oh yeah! This is what us genre fans like to call a REAL horror film! "Deranged" is shocking, insensitive, cold-hearted and features a 'you-don't-like-it-go-to-hell'-honesty you can't possibly walk away from! This is the pretty damn factual, and therefore hugely disturbing, reconstruction of the case of Wisconsin serial killer Ed Gein. This guy was crazier and far more dangerous than any fictional horror character could ever be and therefore he was a nearly endless source of inspiration for independent filmmakers who wanted to bring a horrific tale. "Deranged" appears to be very cheap and amateurish, but it's one of the rare films in which the low budget production values actually contribute in making the story more grim and realistic! Ed Gein really was a poor and simple-minded farmer who went absolutely berserk after the death of his beloved mother and he refused to accept her passing away by replacing her with cadavers that he kept in his house. The characters' names have been altered, as well as the timing of the story, but Ezra Cobb's actual crimes are frighteningly truthful and portrayed with a chilling eye for detail. The film's biggest trump is unquestionably the casting of the rather unknown actor Roberts Blossom whose impressive and straight-faced performance will make you more than once wonder whether he isn't a real madman! Other aspects that definitely increase the creepiness are the constant funeral music that guides the film and the colorless, depressing set pieces. "Deranged" is not a total gorefest (mainly due to the lack in budget) but the murders are nonetheless explicitly illustrated and quite bloody. Strangely enough, the film's devastating tone is regularly undercut with brilliant flashes of morbid black humor, like Ezra's encounter with an overweight widow who talks to her deceased husband. In short, "Deranged" is a typically 70's cult treasure that should be watched by every horror fan on this planet.

It pleases me to report that RISE works brilliantly in its original 122-minute version. The use of non-linear storytelling is handled masterfully by writer and director Sebastian Gutierrez, and along with the beautifully lush cinematography of John Toll, these devices go a long way in giving the film an edge that most other horror films can only dream of. But then, RISE is so much more than a "mere" horror film, as it is just as heavily rooted in gritty film noir and hard boiled revenge thrillers like KISS ME DEADLY and POINT BLANK, and Gutierrez effortlessly mixes these different genres into one helluva potent cocktail. He is also greatly helped in making this sell by Lucy Liu, as her acting in this film is completely off the chart. This is without a doubt the finest and most daring performance she has ever given, and the raw emotion she dishes out in certain scenes is nothing short of astounding. So... in the cinematic tradition of vampire films like THE HUNGER, NEAR DARK, and THE ADDICTION, Sebastian Gutierrez's RISE is most definitely a worthy addition to the list.

Sisters Ginger and Brigitte are walking through the park when Ginger is attacked by some sort of wolf that leaves her badly cut before they get away. With Ginger on her period already she is upset about the various changes happening to her body but it is apparent to Brigitte that the changes occurring to Ginger are more sinister and she tries to find a solution.

Despite the fact that the title is far too clever and silly for the film it announces this is actually a very strong teen horror. In the midst of the usual teen slasher movies, this film stands out as one that doesn't fall into the usual clichés (either accidentally or knowingly) and just concentrates on being a good film. The script cleverly uses the changes of teenage years and the changes of the werewolf as one and it works very well on the whole. Ginger's change is gradual and well done by the script.

The film is gory but not in a bloodlust type way where teens are bumped off in gory ways for audience amusement. Here the film builds gradually with blood a constant thing but not in a sensationalist way. When the film comes to a close, it does well to not be diminishing by the sight of the wolf itself - often the hint of the creature is better than the actual effects, both work here. The cast are good on the whole. Of course the support cast do play the usual teen stereotypes but, unlike other of this genre, they are not just fodder. The best playing comes from Isabelle and Perkins- the former especially giving a really good performance that makes the script alive.

Overall this was a very pleasant surprise - a good teen horror movie. It may lack the clichés of it's peers, and maybe that is why it is not as well known as the others, but it is a great little film and, if you need any further evidence of it's calibre - the ending is one of taste and restraint, words not often associated with teenage slasher movies.

Fun for the whole family! If thats what you had in mind, please go to a site more suitable for you such as www.google.ca

This movie is for gore hounds, and you would have to be one to appreciate it. This movie is the sixth and last of the Za ginipiggu (Guinea Pig) series, filmed in the style of Guinea Pig 3: He Never Dies. The movie is a bunch of hilarious scenes where different body parts will blow up with different people if they get upsetor be shocked. I do not want to spoil the fun so watch it for yourself.

I would recommend this movie to watch with a bunch of friends. That way, you can laugh with your friends although some people may not find it that funny.

This and Devil Woman Doctor are the heaviest criticised of the Guinea Pig pictures, and neither are up to the standards of the others, except Devil's Experiment, which I ain't a fan of. Still I had a fine time watching this entry, in which a small mad scientist performs strange medical experiments to save his sister. My biggest problem with the film was that I thought it should have been expanded out into more of a proper length movie. The idea of someone going to any lengths to save a loved one is a timeless quality theme and with more downtime between the gore and more fleshed out characters and relationships could, in my opinion have made for a genuinely touching splatter fest. But, this being a Guinea Pig movie the madcap spatter is all people are likely to care about. Its decent but definitely shows its budget, ie. the effects are plenty gruesome at times but look somewhat cheesy. Acting wise this isn't too impressive, though it doesn't help that the plot and writing are thin. I enjoyed this quite a bit, although not nearly as much as Mermaid in a Manhole or He Never Dies. For me it really helped that the happenings are pretty dang strange at times lending a feel of unpredictability to the grue, which I liked a lot. Also, a robot arm does good work at one point and I have a certain odd fondness for low budget robotic effects, having seen a whole lot of low budget science fiction films at an earlier age. In all, I seem to be rating this higher than just about everybody else, but then I am somewhat easily amused and I also love Japanese splatter in all its multi faceted splendour. Plus I was drinking throughout my viewing, which never hurts. So if you want a really great entry in the series, or a quality, serious picture, steer clear. But if you have the time on your hands and a hankering for oddball grisliness, well, you might get a bit of a kick out of this one, cause I sure did.

A painter named Hayashi(Shigeru Saiki)finds a wounded mermaid(Mari Somei)and saves her.He takes her home and puts her into his bathtub where she keeps decomposing,the spreading disease spurting blood and pus.Hideshi Hino's "Guinea Pig 4:Mermaid in the Manhole" is easily one of the most disgusting horror movies I have ever seen.The make-up effects made by Nobuaki Koga are incredibly revolting.The character of Hayashi is pretty sympathetic and the film has a mood of a very sad romance.The mermaid represents painter's wife and "all the beautiful things" he has lost,so she is bound to rot and vanish too."Mermaid in the Manhole" works as a piece of extreme art,so anyone who loves Japanese horror should give it a look.However if you're easily offended avoid this one like the plague

After the first two Guinea Pig movies, which could never really be described as 'fun', it comes as something of a surprise to find that the third in the series, He Never Dies, is actually quite lighthearted in comparison. It's still very gory, with some highly convincing and gruesome effects, but a juvenile sense of humour stops this one from being as grim as its predecessors.

Part three is introduced by a serious looking American guy who tells us that what we are about to see is a true story. Call me suspicious, but I don't think he's telling the truth...

An office worker who hates his job, and who has just lost his girlfriend, decides to end his life. However, after slicing open his wrist, he realises that killing himself will be a lot harder than he at first thought: he never dies! Having hacked at his wrists, sliced at his neck, and unsuccessfully tried to strangle himself, the obviously immortal fellow gives up trying to top himself. Instead, he decides to freak out his friend (who is currently banging his ex) by calling him up, inviting him round and then mutilating and dismembering himself in front of the terrified sap (he even guts himself and flings his entrails at the poor bloke).

By the time he has finished, he has reduced himself to nothing more than a talking severed head on a table.

I have noticed that several people have compared this film to the early works of Peter Jackson, but even though there are the common denominators of comedy and outrageous gore, I don't think He Never Dies is either as funny or as wholly entertaining as the gore classics from the Kiwi wunderkind.

It is, however, a very peculiar film, and worth seeing, I guess, if you're a fan of silly splatter or truly bizarre cinema. And it's only 39 minutes long!

Although still very hard to find on video, this is absolutely the top of sadistic Japanese gore. The dismemberment of a naked Japanese girl strapped to a bed, filmed in intense close-ups and decorated with subtle sound effects, is one of the best examples of how gory horror movies should be made. In my eyes "Flowers of flesh and blood" has definitely set some new visual standards for the industry... And it even manages to eroticise the act of mutilation! This is absolutely unique and will perhaps shock the less hardened viewers among us. However, I found it quite the experience.

But be warned: you will have to be a little sick in the mind to fully appreciate its content, like me lol.

The first installment of this notorious horror series presents a woman being kidnapped by a gang of black-clad men who torture her for several days before finally killing her.She is beaten savagely,spun around in the chair endlessly,has her finger nails pulled,animal guts are thrown at her,hot boiling water is poured on her and finally her eyeball is punctured with a needle(really sick and nasty scene).The makers of this unforgettable torture show tried to make it as real as possible and for me this one is the closest thing to a snuff film you can get without committing murder on tape.Of course some of the special effects are rather poor but the idea of making a snuff is pretty gruesome.I have seen also "Flowers of Flesh and Blood" which is more gory and sadistic,but less disturbing.Anyway,this one is a must-see for horror fans!

This is one of those very rare films that combines good black humor with bloody, messy gore and does it perfectly. Where `Children Shouldn't Play With Dead Things' fails miserably, `Return of the Living Dead' succeeds triumphantly. It takes a tired plot (zombies eat teenagers) and makes it new again. The teenagers here are not faceless, stupid, oversexed victims at all. They are misfits and outsiders, the kind of kids who probably go to horror movies every day and make fun of the faceless, stupid, oversexed victims who populated the majority of the slasher films made in the 1980s. The nihilistic punk rock teens can identify with the zombies, and even though it is their ultimate fate to be consumed by them, you like them, you want them to survive and you're sorry to see them go even though the zombies are every bit as cool.

Long before `28 Days Later' appeared, `Return of the Living Dead' presented us with FAST zombies, zombies who could run, jump and work together like a football team, tackling people and making it a group effort to tear their victims apart. There are very few slow, shuffling monsters here; these are zombies to contend with. They talk, they think, they problem solve. Who could ever forget the Tar Man (my personal favorite) rigging up a device to tear down the metal closet doors, behind which our heroine has locked herself?

The adult characters in this film are no less interesting than the teenagers. James Karen is absolutely hysterical in his role as a medical warehouse manager, whose bumbling irresponsibility leads to the zombies being unleashed. Clu Gulager is a stressed out corporate jerk who will do anything to save the name and reputation of the warehouse he owns. And Don Calfa is excellent as the slightly shady mortician who may or may not be an ex-Nazi. The mismatched cast really comes together and forms a bond here, fighting back and growing more desperate as the zombies grow stronger. This film never lets up, not for one minute. There are no long explanation scenes, no boring set-up, just in-your-face excitement from the very first scene. It is the perfect homage to the Romero films; there is no happy ending here, only an ironic twist which will make even the most cynical doomsayer grin. This film is already a cult classic and deserves its status. It's as close to flawless as you can get.

A group of Satanist hippies roll into a small quiet town and ruffle a few feathers of the locals, since they attacked one of their girls. So the girl's grandfather tries to set things straight with them, but they forcefully make him swallow a LSD cocktail. Wanting revenge for what they had done to his grandfather, a young boy feeds them pies, which have been injected with rabies from a dead dog. Slowly they start to feel the effects and they turn into homicidal maniacs hell-bent on destroying or contaminating anything that crosses their path.

Rabies and hippies, who show their faith in the dark lord. What a freak out! Now, there's no doubts this cheesy delight is wild 'n' wacky fun for the undemanding and was one of the first films to be influenced by Romero's "Night of Living Dead". This memorably sleazy and in bad-taste drive-in, exploitation flick scrapes the bottom of the barrel in the budget restraints, but despite that, it's surprisingly competent. It doesn't stop the sheer flow of comic entertainment, and might I add, this foaming madness is damn hilarious. After eating the very yummy looking pies that the smart little fella messed around with, you'll get a kick out of how the eccentric bunch transform into feral beings and basically going spas, leaving some very nasty splatter behind. The scenes involving water being splashed about is incredibly rib tickling. The acting is extremely fruity at times, but I thought that it was more than acceptable for this sort of film. George Patterson and Bhaskar Roy Chowdhury were a riot as some of the hippies. Also Lynn Lowry appears in the group. Jack Damon and Elizabeth Marner-Brooks play the more steady heads of the town and they're fine in their roles. While, it might be funny, it still does offer up some nail-biting tension, brisk pacing and one or two decent surprises amongst this enjoyably (and sometimes quite) original idea. But oh my, wait to you get your head around the spotty experimental score with its array of funky and otherworldly sounds. The story and fluffy script might leave some loose ends left untied, but the score, sure definitely doesn't.

Simply put, this hocus-pocus was compellingly, dumb and scummy fun that has one real cruel edge to it! Well-deserving of its cult status.

"Tenebre" is one of the most well-known titles from Dario Argento, a director whom many either love or hate. I'm rather ambivalent in my feelings towards the director and can definitely see where both sides are coming from. On one hand, Argento is an amazingly talented visual stylist, sort of an European counterpart to Brian DePalma. His films are full of truly impressive set pieces and color schemes. In particular, all the murders here are gory, shocking, and really innovative. The man knows how to build a lot of tension by using various camera angles (and rather cheesy yet appropriate music) to create mood. There's several parts here guaranteed to make the audience jump.

The negative aspect of the film is the same with all of Argento's work. Its really rather dumb. The story and situations are never once believable. Despite being one of Argento's more compelling stories in a film, its still pretty far fetched. Many of the sequences, despite being frightening, are completely implausible when thought of, which definitely lessens the initial shock (the dog chase sticks out in particular). Also, there's not a single interesting or sympathetic character here, which is needed to make the deaths more effective. The acting, outside of the always enthusiastic and watchable John Saxon (who should have gotten the lead role instead of a small supporting one), is very wooden. Apparently Anthony Franciosa was drunk throughout filming and it shows.

Despite all this, the film is still very suspenseful and moves at a quick pace. One other aspect that I really enjoyed about "Tenebre" was the seemingly self-referential moments. The critics of the main character (who is an author) accuse him of misogyny or attempt to read into subtexts of his work which he knows simply don't exist, both of which Argento went through. "Tenebre" is recommended if far from perfect.

I knew this would be worth seeing after hearing that Kitamura was directing this movie. And my hopes were up because although I loved most Clive Barker stories I think the movies mostly were unsatisfying to say he least. I can't remember having seen a decent Clive Barker Movie since Hellraiser.... until Midnight Meat Train came along.

Actually I don't get why so many people put this movie down. The cinematography is awesome and the shots of the subway are as impressive and stylish as the city shots. Sure some of the CGI Gore FX looked a bit cheap and also the train FX were easy to spot... still this is a Horror movie and for that the Effects were far above average. I mean come on... the decapitation scene from point of view was a classic and the hammer bashings were raw. I usually hate CGI Blood but here the fountains were pretty impressive and except the real cheap scene where he sees his face in his own puddle of blood I liked it.

This movie is as well for gore maniacs as for fans of stylish imagery and he Clive Barker fans also won't be let down. I can't quite remember the story but I think they should have explained the whole background more in-depth because the end leaves many questions unanswered.

Perhaps they should not have spent so much time introducing the photographer, his work and his girlfriend although I think also this part of the movie was done with suspense. After all the movie is about a photographer taking shots of New York at night which draws him to the subway where he gets fascinated by a tall guy he thinks is a murderer. He follows him and tries to uncover where he works and goes at night just to be drawn in too deep in a story that involves trains, butchers and human cattle for evil overlords.

I think the typical cynicism of Clive Barker came across very well with the butcher dressing up for work, following his time schedule by the minute and pretty much just doing his job.

So even with the flaws of a script focusing too much on suspense and gore and forgetting to unfold the whole back story to the viewer I think this one is definitely watchable. So don't focus on some worn off one-liners and too tight budget in the FX. After all I think the decapitation scene is destined to be a classic and I haven't seen such a raw and gory, yet kind of funny scene since the opening of the by far inferior "Wrong turn 2". Well done Mr. Kitamura, thumbs down Lionsgate. People should throw tons of money at this guy to make more movies like this and Versus.

Many films on the Video Nasty list are horror cinema's answer to well-respected classics; The Last House on the Left offers a new spin on Ingmar Bergman's The Virgin Spring, Island of Death is a more brutal telling of the story of Bonnie and Clyde and, indeed, this Mario Bava film owes its plot to the French classic, La Ronde. Bay of Blood is often noted as being an obvious inspiration on the Friday the 13th series, and when taking things such as the setting and a certain murder sequence into account, that is certainly true; but let's not forget that this is also a fantastic movie in its own right. The film starts off with a glorious sequence that opens inside a beautiful manor house. We watch as a wheelchair-bound baroness is brutally strangled, only for the rug to be torn from under us moments later when her assailant is the next one to bite the bullet! It has to be said that the film never tops its opening sequence, but Mario Bava's gore-fest manages to remain fascinating all the way through, as it turns out that the first murder scene sets off a violent chain of events that results in a very high body count.

This film would be properly categorised as a slasher, but its Italian roots ensure that it's often labelled a Giallo, and indeed Mario Bava does include Giallo elements; from black gloved killers and an array of odd characters, all the way to an amazingly convoluted plot. Indeed, the storyline here gets so complicated at times that it's liable to give the viewer an extreme headache, but Bava is always on hand with another glorious murder scene, and as the film features thirteen deaths in it's eighty one minute running time - there's certainly no lack of the red stuff. Bava ensures that the murders are suitably varied, and we get treated from an array of methods of dispatch, including axes, a spear through a lovemaking couple and an excellent scene that sees someone skewered to a wall. Mario Bava's eye for detail doesn't wane with this film, as despite being a grisly slasher; there's still more than enough time for beautiful scene setting. The bay itself looks great and excellently lends itself as a location for savagery, while the decors of the character's homes are elaborately Gothic. With the pitch-black ending, the director shows us that the film isn't meant to be taken seriously, and overall, Bay of Blood is both influential and a great time - and therefore shouldn't be missed by horror fans.

Violent, gory yet somewhat bittersweet tale of an American tourist who has the misfortune of being bitten by a werewolf. David Naughton is young and bewildered, Jenny Agutter cute, innocent and sexy and Griffin Dunne hilarious as a rapidly decomposing poltergeist. The score is great and the special effects outstanding. This movie gives new meaning to the term Ugly American. Don't watch this on commercial TV. It can only be appreciated in its original, unedited form.

I have always admired the films of Romero and there can be no doubt that he is the godfather of zombie films. Alas, i think he should have finished his zombie career with day of the dead. Land of the dead certainly wasn't a bad film and this is far from the worst i've ever seen but the step down is none the less noticeable. The modern cinematic world owes a lot to Romero but it's clear that the modern cinematic world has moved on from him.

Lets start with the main problems(and ignore the million little ones):-

1. An idiot who keeps filming even when he or his friends are in danger (at no point does the brilliant idea of putting the camera down occur to him)

2. A narrator that appears to have edited the film so that it looks polished and yet who chooses to leave in the moments when the camera goes off or turns black

3. A narrator (and editor) who thinks incidental music should be added for tension (imagine those who filmed 9/11 doing the same and you will arrive at the same tasteless nature of this)

4. A narrator (and editor) who wishes for us to witness her rotting corpse family attack her (journalists may pretend to put journalistic integrity before emotional involvement but this is perverse)

5. An allegory for the war in Iraq (we aren't being given the full information etc) that needs to be endlessly repeated.

6. The notion that they needed to film everything to show the world the truth (like walking zombies wouldn't do it for most people)

7. Romero getting the opportunity to remind everyone that he thinks zombies should be slow (and reminding us again and again)

This isn't an absolutely awful film by any stretch but in relation to the history and reputation of Romero, it is alas.....somewhat of an embarrassment

For these type of serial killer movies you never need a budget worth millions of dollars to let it work out. Often a shoe-string budget work out the best for this type its movies, because it contributes to the movie its unpleasant atmosphere. You can say that in these type of movies the amateurism and simplicity all adds to the creativity and overall effectiveness of the movie. The best known example of this is the original first "The Texas Chain Saw Massacre", from 1978.

This movie is far less known and also isn't blessed with such a great title. The title of this movie somewhat sounds something like a based on true-events TV movie, without any graphic images. But don't be fooled, for "Henry: Portrait of a Serial Killer" is filled with graphic violence and other disturbing moments.

The movie feels and breaths an '70's atmosphere. Also the overall style of the movie is very '70's like, in a gritty, dark and very straightforward type of way. It also of course helps that the movie at times uses 'home-video' movie, in which we get to see the killings/rapes from the perpetrators perspective alone.

It isn't a movie that has a true beginning or ending, in terms of having a conclusion that puts an end to things. It has instead now got one of the best possible endings thinkable, that is shocking, unexpected and satisfying even though it doesn't put a definitive end to things.

The real story of Henry Lee Lucas is even more shocking and disturbing but also a lot longer and more complicated of course. It's far too much to put in a movie and then prevent it from getting ever overlong or starts repeating itself and remain original. This movie obviously had to make some choices and even decided to not only exclude a lot but also to change and add certain elements, which all strengthens the story in this case. The story might seem very simple at first sight now but is's perhaps the very same simplicity that makes the movie so great- and let things work out in it so effectively. It makes some great choices with its story and build up, that seem simple but are all thought out and constructed cleverly.

The movie features the then still unknown Michael Rooker in one of his earliest roles. None of the actors are that impressive within this movie, which gives Michael Rooker all the more room to shine in his role. He plays a great two faced character, that can be both kind and sort of shy as well as ruthless. He does this very convincingly within the movie.

But it are the graphic killings within the movie that makes this a really watchable one. It doesn't show all the killings how they happened but only just a few, which makes the impact of them work out all the more and adds to the reason why this movie is regarded by many as one of the most shocking one's.

A great and effectively shocking movie within its genre.

Right at the end of the 80's, a horror decade ruled by violent slashers, comes one of the coolest independent productions ever unleashed upon us, gorehounds: Scott Spiegel's "Intruder". It looks like the most basic and primitive slasher ever made (the story can be summarized in one phrase, namely, a group of supermarket employees are all brutally murdered by an unidentified maniac) but if you observe "Intruder" more closely, you'll find plenty of peculiar aspects that proves that this film definitely outshines the majority of late 80's horror films. First and foremost, the names involved in the production. Sam Raimi (by then very famous already for his "Evil Dead" films) and Lawrence Bender helped realizing "Intruder" and, even though the budget possibilities were still very limited, their presence is an added value. Secondly, there's the truly ingenious camera-work! The film takes entirely place in a familiar setting ? a local supermarket like every town has one ? but all the different and innovating camera angles add an unexpected amount creativity and playfulness. But the obvious element to love is, of course, the very high level of nasty and unhinged gore. One by one, all the cast members are killed in the most repulsive ways imaginable, using typical supermarket-attributes like meat hooks and garbage chutes. The murders are graphically shown, so this film isn't for the faint-hearted, but there's also a large amount of pitch-black humour to enjoy, as well as shockingly unhappy ending! "Intruder" is a must-see for all you sick puppies out there, just make sure you purchase an uncut version!!

This early directing credit for Charles Kaufman, the brother of Troma boss Lloyd Kaufman, has three young ladies getting together for their annual dose of female bonding. This time, they're going camping, but they get abducted and brutalized by two demented hillbilly sickies and their loving mama. But that sure ain't the end of the story. Two of the ladies decide they're not going to stand for this sort of treatment, and hit back hard.

This movie was a true family affair with sister Susan Kaufman serving as the production designer, and father Stanley making a brief appearance on-screen. Most of the minuscule budget looks like it went towards art direction, which pays off pretty well since the back-of-the-beyond abode is a real study in disarray. Makeup effects aren't nearly as impressive, with the opening decapitation scene hysterically unconvincing.

The film is divided into three parts; the first half hour introduces us to the ladies, gives them a bit of back story, and had me liking them enough to care what happened to them. It's a study in female friendships, and it's really kind of affecting. The second part has the creeps descending on them, and is the most depraved part of the film. In the final act, it turns into a gleefully outrageous revenge saga. If the film-makers have done their job, you'll be rooting for the ladies as they slaughter the three yokels using some interesting methods.

However, it isn't just a sleazy little exploitation horror picture. Satirical elements blend with some actual character arcs on the part of the ladies, as the two survivors temporarily switch personalities as the tougher one starts breaking down and the weaker one gains resolve.

The acting is definitely amateurish for the most part, but the three female leads are likable enough, and the three actors playing the antagonists (all acting under pseudonyms, incidentally) attack their roles (and victims) with relish.

Overall, its sillier, cruder, and sleazier moments balance with its more intriguing aspects to result in a real hoot of a film; it's outrageous, nasty low-budget fun.

On a final note, there's some amazing bits of trivia associated with this film!

Young guy Mathias(Olaf Ittenbach)has visions of a fallen angel,Premutos wreaking havoc thorough the ages.His stepfather Walter(Christopher Stacey)unearths an ancient book of evil and when Mathias read it he is transformed into Premutos.Raising an army of zombies,Premutos gatecrashes Walter's birthday party and all hell breaks loose."Premutos-The Fallen Angel" clearly plays homage to classic horror films like "The Evil Dead","Dawn of the Dead" or "Scanners".There is an incredible amount of blood and gore-this film easily ranks up with Peter Jackson's "Braindead".The 30 minute climax is amazing-non stop gore and slaughter.We have a glorious kill count of 139 here and they are seemingly all shown.There is also pretty nice sex scene added for a good measure.Highly recommended.

A lot of people on this site are moaning that HELLRAISER isn't all that scary . Well define " Scary " ? opening an electricity bill and finding that it exceeds your life savings causes my heart to miss a few beats but will anyone be making a horror film about someone getting a massive electricity bill ? I don't think so either and very few films have terrified me and the notable few that have scared me witless like THREADS , QUATERMASS AND THE PIT aren't strictly speaking horror movies . In fact the one thing that used to terrify was DOCTOR WHO and what's that ? A childrens TV show shown at tea time so let's not kid ourselves horror movies are scary

!!!! SPOILERS !!!!

What I absolutely love about HELLRAISER is that it's not really a horror film as such - It's a macabre love story with loads of subtext about how love and sex can destroy us and in many ways it can be viewed as an AIDS allegory ( 1 ) . Larry doesn't satisfy his wife in a sexual matter and it's this sexual inadequacy that leads to his death , Julia lusts after Frank which leads to her death , men who've just met Julia go back to her flat for some casual sex only to be murdered , while Frank lusts after Kirsty ( Who can blame him ? ) and it's this obsession that leads to his death at the hands of the Cenobites

ah yes the Cenobites . A lot of people seem upset that the Cenobites aren't to the fore in this movie but it should be pointed out that they're the catalyst of the story not the focus . The story revolves around Frank and Julia's relationship and Julia's dissatisfaction with her marriage . In fact you could easily rewrite the story with Frank being on the run from a criminal gang instead of demons from another dimension and you'd still have the same story

I shall admit there are some flaws to the movie such as the bizarre dubbing but I should point out that this was done post production in order to make the characters more identifiable ( 2 ) to an American audience hence English characters speaking with Bronx accents which does make some of the performances laughable . Ironically the only performance which can be described as bad is genuine American Ashley Laurence as Kirsty , but hey she's gorgeous so let's not complain too much lads . Writer/director Clive Barker's strengths do outweigh any weakness , take for example the scene in the hospital where a nurse watches TV and it's not a TV show she's watching but a rose in bloom , and for me the greatest image isn't the murder and gore but the scene at the end where a photograph of Frank burns to a haunting soundtrack . Barker does get good performances out of most of the cast namely Andrew Robinson who isn't as good as he was in DIRTY HARRY but he'll never be able to top that and he is good as uber wimp Larry , Claire Higgins as femme fatale Julia and Sean Chapman as the human version of Frank. I thought Chapman might have gone on to become a big name after this movie but strangely not . Even stranger I thought Barker would have gone onto bigger and better things but for some reason I found myself disliking his other stuff and seems to have disappeared from film making all together and I can't say I'm all that upset

HELLRAISER is a classic story on the themes of love and death . Such a pity someone wanted to turn the movie into a franchise

( 1 ) The same week HELLRAISER was released FATAL ATTRACTION topped the US box office charts . One can't help thinking HELLRAISER would have been better regarded if it came out a few weeks earlier since the subtext is very similar to the Michael Douglas blockbuster

( 2 ) HELLRAISER spent several weeks in the US box office reaching a peak of number three on the charts and taking millions of dollars ( Not bad for a movie costing one million bucks ) so the dubbing is probably justified

Many films on the Video Nasty list are horror cinema's answer to well-respected classics; The Last House on the Left offers a new spin on Ingmar Bergman's The Virgin Spring, Island of Death is a more brutal telling of the story of Bonnie and Clyde and, indeed, this Mario Bava film owes its plot to the French classic, La Ronde. Bay of Blood is often noted as being an obvious inspiration on the Friday the 13th series, and when taking things such as the setting and a certain murder sequence into account, that is certainly true; but let's not forget that this is also a fantastic movie in its own right. The film starts off with a glorious sequence that opens inside a beautiful manor house. We watch as a wheelchair-bound baroness is brutally strangled, only for the rug to be torn from under us moments later when her assailant is the next one to bite the bullet! It has to be said that the film never tops its opening sequence, but Mario Bava's gore-fest manages to remain fascinating all the way through, as it turns out that the first murder scene sets off a violent chain of events that results in a very high body count.

This film would be properly categorised as a slasher, but its Italian roots ensure that it's often labelled a Giallo, and indeed Mario Bava does include Giallo elements; from black gloved killers and an array of odd characters, all the way to an amazingly convoluted plot. Indeed, the storyline here gets so complicated at times that it's liable to give the viewer an extreme headache, but Bava is always on hand with another glorious murder scene, and as the film features thirteen deaths in it's eighty one minute running time - there's certainly no lack of the red stuff. Bava ensures that the murders are suitably varied, and we get treated from an array of methods of dispatch, including axes, a spear through a lovemaking couple and an excellent scene that sees someone skewered to a wall. Mario Bava's eye for detail doesn't wane with this film, as despite being a grisly slasher; there's still more than enough time for beautiful scene setting. The bay itself looks great and excellently lends itself as a location for savagery, while the decors of the character's homes are elaborately Gothic. With the pitch-black ending, the director shows us that the film isn't meant to be taken seriously, and overall, Bay of Blood is both influential and a great time - and therefore shouldn't be missed by horror fans.

If you don't like zombie movies, you'd be best off making sure that you never see The Dead Next Door...but if you do like zombie flicks, this might provide some amusement. While the film is never exceptional (even in the low budget zombie sub-genre), it does have some positive aspects, which pull it out of the truly abysmal. Despite it's more than obvious low budget, it's clear that the producers of this flick wanted to do some things with the genre that haven't been done before. Of course, by 1988; zombie films had pretty much been explored to the max, but fairly original ideas such as the religious cult that want the zombies protected and the thing with half-human, half-zombie give this film some things to call it's own. The plot is a straight Romero-rip off, and it sees the world being plagued by zombies. We follow a team of government agents calling themselves 'Zombie Squad', whose task it is to, basically, kill zombies. Their job is made more difficult by a cult of religious weirdo's, who strangely think that the zombie is worth saving...

On the technical side, everything about this film is rubbish. The script is ridiculous, and little gems like "I'm a zombie now" show this. The acting matches the script, and once again is a load of rubbish. Someone called Pete Ferry takes the lead role, and does his best impression of Bruce Campbell. He's not the king of B-movies, but his performance does ensure that it's obvious that this movie isn't to be taken seriously. The closing credit of 'you have just witnessed the awesome talents of:' is a nice touch, and shows that the crew were only having a laugh while making this film. The special effects are gory and disgusting, but also very stupid and impossible to take seriously. Still, they beat lazy effects like those of Resident Evil (the movie) hands down. The way that a lot of the characters have been given horror director names, such as Raimi, shows that the makers are fans of this sort of film, and that fact might even be inspiring if this production wasn't so unprofessional. On the whole, there's no denying that this isn't very good; but on the other hand, it's a decent waste of time and there's definitely something here for zombie fans.

Thanks to my friend Mark I've got my hands on the copy of this brilliant movie.With a run time of only thirty minutes "Aftermath" will leave you feeling truly disgusted for watching it,but certainly you'll watch it again and again.This movie takes place in an autopsy room where there are two morticians slicing up bodies,removing organs and sewing the bodies back up again.One of them(Pep Tosar)decides to lock himself in a room with a female corpse.After cutting off her clothes he grabs a knife and really starts jamming it inside the dead woman's vagina.Then he has sex with the corpse.The film was shot in a mortuary of Barcelona.The special effects are extremely well-done and disgusting.Spanish director Nacho Cerda describes a meaning of "Aftermath":"The theme of it is about death,and I think people one way or another at one point in their lives,worry about death.They realize they are going to die,they are conscious of it,and some people may accept it,some people may not accept it".Highly recommended for all who have an iron stomach.Fans of extreme gore will love this!

had really low expectations going into this film as I haven't liked either of the Jess Lieberman films I'd seen previously (Squirm, Just Before Dawn); but what I found with this film was an inventive and moderately amusing little film that benefits from a talented cast and a clever screenplay. Satan's Little Helper is a pitch black horror comedy that finds time to poke fun at the American institution of Halloween, as well as ideas such as 'video games create killers'. The central idea is more than a little bit silly, but it also shows great imagination; as the idea of having a young boy unwittingly help a serial killer isn't immediately obvious, and the director does a good job of manipulating his characters into the situation he wants them in. Satan's Little Helper revolves around Douglas Whooly; a young boy obsessed with the video game, coincidentally called 'Satan's Little Helper', which was bought for him by his father. After witnessing the local serial killer arranging his victims outside his house, the kid mistakes it for an act and offers his help to the killer; which is duly accepted.

The fact that the lead character is a young boy gives the film a sort of childish horror feel; and Jeff Lieberman brilliantly offsets this with a number of amazingly gruesome scenes, which see things such as a cat being used to write 'boo' on the wall in blood, as well as intestines being used to tie a knot and a particularly grisly stabbing sequence towards the end. The director has also managed to pull in some good B-movie talent to act out his movie. Amanda Plummer is the biggest name on the cast list, and she bodes well with her role as slightly odd mother. The beautiful Katheryn Winnick was the highlight for me, and no doubt most other male audience members, as she looks great and her acting isn't bad either. Child actor Alexander Brickel, and Stephen Graham round off the central cast and overall, this movie doesn't have many problems where the acting is concerned. Jeff Lieberman's sense of humour may not be to everyone's taste; but I found it delightful, and the way the screenplay constantly harks back to earlier events is good. Overall, this may not be a brilliant film; but it's entertaining and fun and therefore gets a big thumbs up.

Being such a big fan of Argento, I went into this film with a mixture of massive anticipation and worry that it might not live up to my expectations. With the exception of Sleepless, Argento hasn't made a really great film since Opera in 1987, and while I wouldn't quite call the final instalment of the 'Three Mothers' series a return to form, it's certainly a lot better than the majority of his modern movies. The thing that really made the first two films in this series standout was the colourful sets and fairytale atmosphere, and unfortunately this film features neither. I have no idea if Argento decided to discard these things in favour of a modern setting or if it was the producers who were worried that a seventies style film wouldn't sell, but either way; it doesn't feature here and that's the thing I liked least about this film. The film is slightly more story-heavy than the two previous entries and this time we have more of a clearly defined point. The story is set in Rome and our central character is Sarah Mandy. The film kicks off with the discovery of an ancient urn, and from there strange things start happening. Rape, assault and arson increases and strange people start to gather in Rome. These events are due to the return of Mater Lacrimarum, the most beautiful of the three witches at the heart of this series. It soon becomes apparent that the only person who can stop the evil from enveloping the world is Sarah Mandy, who has a few supernatural powers of her own...

As mentioned, it's the change in style that is the biggest problem with this film for me and the thing that really means it doesn't quite live up to the previous two instalments, but what the film lacks in atmosphere, Argento makes up for in gore (and then some) and it's clear that the great director has lost none of his eye for a brutal and stylish death scene. This film is far gorier than the sum of the gore scenes in both of the previous films, and it's great to see a modern film that doesn't hold back. The gore scenes range from quick to stylised and drawn out but all are very gory - with one notable exception which also happens to be the most shocking sequence in the film! Argento has donned the use of CGI and it's a bit of a shame because it looks rather cheap - but that's only a problem really in one scene. Argento films are not known for fluent plots and great acting, and there's a very good reason for that. This film has more than just a few holes and the acting is not anything to write home about either. As is the case with a lot of his modern films, Argento has cast his daughter, Asia Argento in the lead role. She's beautiful and not a bad actress - but Argento always makes her roles too 'clean', and it doesn't suit her considering the Hellraiser she is in real life! I also didn't like the supernatural subplot with her character; it's just sort of thrown in there and doesn't work very well. Argento makes more of an attempt to establish his mythology with this film than in the previous two and he even makes nods to the first two, though I think more could be made of this aspect of the series. The ending is abrupt but nicely done if you ask me. Overall, I did like The Third Mother a lot - it's only disappointing when compared to the other two films. In its own right; this is a great gory Italian horror flick and definitely comes recommended.

The Untold Story is one of those nasty flicks that most horror fans whisper about, or have heard of, but because of its ridiculous premise, foreign nature, and Category III rating (the Hong Kong version of X or NC-17 in U.S.A), most of us have rarely gone out of our way to see it. Or if you?re like me, you made the mistake of getting a hold of the second one before the first film and, consequently, never wanted to see the first film because of the shit nature of the sequel. The Untold Story, despite all of the odds that are stacked up against it, deserves to be mentioned right up there with the heavies of the serial killer genre. Sure, it?s cheaper, more brutal, and quirkier than something like Silence of the Lambs or Se7en, but its originality, coupled with the fact that the film is based on a true story, packs those deficiencies in a delicious barbecue pork bun and washes it down with liberal doses of urine and feces laced gore.

The film follows the story of Wong Chi Hang, a notorious serial killer in 1970?s Macau. Wong Chi Hang has three loves in life, gambling, killing, and grinding up corpses to serve as tasty meat filling in his delicious barbecue pork buns. Chi Hang, a criminal wanted for murder after killing someone in another part of China, flees to Macau, where he unceremoniously becomes the owner of a restaurant entitled The Eight Immortals. The restaurant?s original owner has disappeared along with his family? it doesn?t take a rocket scientist to figure out what happened to them. The cops are soon on his tail, led by the prostitute courting Officer Lee, a tomboy female cop trying to get the attention of her co-pigs, and a couple of other generic silly cops.

One of the major problems with the film is that it is so uneven. For a movie about a dude who kills the fuck out of people and grinds them into dumpling filling, the movie feels ridiculously light as the group of cops engages in Police Academy style hijinks and banter. They eventually tone it down a little bit, but it?s kind of an odd decision to make to inject a little humor in what is clearly a dark story. I don?t know what to be more disturbed by, the lighthearted approach the co-directors took with the film or the disgusting and over the top brutality with which Wong Chi Hang dispatches his mostly undeserving victims.

The other huge problem with the film is how poorly it is put together. The film?s entire crux relies on the fact that there is an ?untold story? somewhere in the film. The untold story is of course what happened to the original owner of the restaurant and his family. The last half hour to thirty minutes of the film focuses on the cops? efforts to figure out exactly what happened to the family? even though they?ve got a sack full of body parts that screams ?missing family? sitting in their evidence locker. The ideas behind the structure and form of the film are off. Instead of taking the true crime direction, the directors turn the film into a Shakespearian like tragedy where the big payoff is one hellacious slaughter and the reveal to the police that they have in fact eaten the remains of humans. This all may seem like spoiler material, but any five year old that has ever seen a horror flick would be able to guess all of this stuff and it?s basically thrown in your face during the film. The Untold Story deserves credit for trying to take a non-traditional approach to the serial killer flick, but it?s light-hearted tactics leave a little to be desired.

The two directors, Danny Lee and Herman Yau, make some pretty solid decisions throughout the film, if you throw out some of the Police Academy type vibe that?s going on with the detectives? seriously I expected to see the Hong Kong version of Michael Winslow to pop up and start making annoying sound effects. The scenes that focus on the serial killer are solid, menacing, and intense as fuck. It?s a shame they shit in their bed and roll around in it by getting too experimental with the tone. There is a lull in the middle of the film, after the serial killer is arrested, and the film?s torture sequence where the cops try to pry information out of Wong feels a little drawn out, but the rest of the film flows rather nicely.

The gore and the brutality is what this film is famous for, and for good reason. You?ve got your over the top rape and murder scene, you?ve got your crazy human butchering montage, and quite possibly the world?s worst and most brutal family massacre scene. The gore and the special effects are all laid out with a reverent flair that is disturbing and pulls no punches. If I liked children, I might have been tempted to turn the film off near the end, instead of laugh insanely. Good stuff.

The Untold Story has some major flaws, but the sheer ballsiness of the flick is enough to counterbalance the good against the bad, creating a delicious Hong Kong classic that is unlike any movie out there. The film?s complete lack of sensitivity to people that may have actually been killed in this true crime tale is appalling, but who gives a damn? It looks cooler than a pile of used profos, gives your stomach a couple twists, and sticks in the memory like that time you played hide and seek with your naked Scoutmaster at the annual Boy Scouts overnight campout.

Final Synopsis: This movie is only for the diehard horror fans out there, as it may be a little over the top and odd for the more casual fans. It?s a great flick that pulls no punches and delivers on the gore without wimping out in typical bullshit cinema-style. Give it a rent, or buy a copy if you?re a sick fuck. Like I am.

Points Lost: -1 for trying to combine Police Academy with Se7en tonally, -1 for a lame approach at telling the story; there?s no real mystery here, so stop pretending like there is one

Lesson Learned: The best recipe for barbecue pork buns includes urine, poop in a bucket, and human bodies ground into filling. Enjoy.

Burning Question: Why is it so fucking hard to find information on foreign serial killers? excluding the lame British serial killers?

The Untold Story.

Enoy and keep a bag next to you.

Immediately banned in many countries after its release, Joe D'Amato's Italian Gore Classic "Antropophagus" of 1980 is a truly disturbing and immensely scary video nasty, and fans of ultra-violent and nasty Horror should not be disappointed. Potential viewers have to be warned, however: You need a strong stomach for this! The uncut version of "Antropophagus" features some of the most graphic and disturbing and goriest acts of violence you will ever see in a movie, and if there was a ranking of the most disturbing gore scenes ever brought to screen, this sick little flick would easily make it in the top 10! I don't want to give the most shocking scenes away, but I assure that anyone about to watch this flick can prepare for extremely horrid gore scenes.

A couple of tourists travel to a Greek island which they find deserted at their arrival. It quickly becomes clear that something evil is haunting the place. Something with an appetite for human flesh...

Whether you like it or not, "Antropophagus" is a movie that you will not forget quickly! In case you don't like gore this is not your type of film, but in case you do, avoid any censored version and watch this extremely scary Cult-sicko uncut. There is simply no point in watching cut versions of Exploitation-King Joe D'Amato's movies, and "Antropophagus" in particular is a movie that is intended to shock, so the uncut version is essential. Apart from its shocking violence, "Antropophagus" maintains a very scary atmosphere, and its cast includes many familiar faces for Italian Horror fans, such as Tisa Farrow and George Eastman (whom Spaghetti Western fans might also know).

In case you are easily offended, avoid this movie! But if you're a fan of Italian Gore films and Exploitation, you should certainly not miss this one! I advise my fellow Horror-fans to get a beer, lean back and start to enjoy the sick imagination of Joe D'Amato... When the movie reaches its climax, you will only be using the edge of your chair!

Joe D'Amato's "Rosso Sangue" aka. "Absurd" of 1981 is sometimes named a sequel to D'Amato's shocking highlight "Antropophagus" of 1980. This is not really true, as while both films star George Eastman as the vicious villain, and both films are extremely gory, the story lines have nothing at all to do with each other. I loved "Antropophagus", which is not only tremendously gory, shocking and disturbing, but also scary as hell. I also enjoyed "Rosso Sangue", but it is not nearly a great as its aforementioned predecessor. The film is, once again extremely gory, and exploitation-icon George Eastman is once again predestined for the role, but the film is not nearly as scary as "Antropophagus", and neither is it anywhere near as shocking. A small town is infested by a genetically mutated man (Eastman), who has the urge to brutally murder everybody he sees, as a result of a nuclear experiment gone wrong. Not only does he have the urge to murder, however, his mutations also made him very strong and immune to injuries... The film's main qualities are the great score, the extreme gore, and George Eastman. The huge Eastman really is one menacingly-looking fellow, who always fits in his mostly sardonic roles. His greatest moments were Mario Bava's 1974 masterpiece "Cani Arrabiati" ("Rabid Dogs"), and "Antropophagus", but Eastman truly is an enrichment to any of the films he starred in, and "Absurd" is no exception. While he is not quite as scary-looking as in "Antropophagus" here, Eastman single-handedly carries the film with his maniacal performance. The other performances are quite forgettable, but this is not really of any importance. Overall, this is not nearly as great as "Antropophagus", but it is definitely a film that any fan of the very brutal kind of Horror/Exploitataion should enjoy. Recommended to my fellow Italian Horror buffs.

If you love Troma, then you will no doubt be wanting to see Lloyd Kaufman's latest opus POULTRYGEIST: NIGHT OF THE CHICKEN DEAD. It is one of the most entertaining films that i've had the pleasure to sit through. You want OTT, then this film brings it, nearly outdoing itself, yet still filled with enough ideas, action and humour that can fill a 100 films! The simple plot is, the American chicken bunker fast food chain has built a new restaurant over an ancient Indian burial ground, yet unbeknowist to them, the Indian spirits are restless and seeking revenge, leading to the body's of the dead chickens coming back to life and causing havoc all around, while at the same time our hero, Arbie, has to fend off the mutant chicken zombies, while trying to win back his former girlfriend, Wendy, who has become a 'left wing lipstick lesbian!' Nothing is sacred in Tromaville and everything is under attack, from right wing bigots, left wing protesters, jihad obsessed suicide bombers, Indians, the handicapped, the American public in general, corporate culture and political correctness all backed by buckets of bloody over the top gore and musical numbers!! If you have a chance to see this then do so, as you will not regret seeing it, though be warned its troma, so leave your sense of seriousness at the door!!

When Scream veteran David Arquette steps into the directorial chair to make a horror movie, you might be forgiven for expecting more of the same. But you would be wrong.

The opening sequence has news footage of nameless war dead, inhumanely thrown together like so much butcher meat. A voice-over says how there is nothing glamorous about war. The image is uncomfortably mirrored later in scenes of carnage and mass-murder. No shortage of gore, but it is the political overtones that make the movie stand out and also invite forgiveness for the appreciably low budget.

The story follows a bunch of hippies having a love festival in the woods, much to the annoyance of local hicks. They are stalked by a psychopath in a realistic Ronald Reagan mask who starts chopping them up. Of those that are left, most are too stoned on ecstasy and LSD ('trippers' - geddit?) to want to believe anything very terrible is happening or that they could do anything about it anyway. The suggestion is obvious: you are living in happy oblivion while your political leaders wreak havoc in the world. Vietnam is neatly linked to Iraq, and 'Reagan' has a pig named George W that seems to be fed on severed limbs. This is no gentle analogy - it is served up with a sledgehammer (or rather an axe in most cases). Ill-gotten gains fly in the air as a body is cut in half with a chainsaw. "No daughter of mine is going to be hooked on drugs," says the killer tenderly, advancing with murderous intent. Better off dead, obviously.

The humour is sparse enough to lend only light relief. With the lifelike Reagan towering over him, axe in hand, one victim pleads, "But I'm a Republican!" The killer dog Nancy is particularly nasty.

And there's another layer . . . When Ronald Reagan was governor of California, he famously released a record number of mental health patients back into the community to save costs. (In case you didn't know this before seeing the film, you will before the end.) Arquette says he was inspired to make the film by growing up in Los Angeles during the Reagan years. Overtly political, B-movie blood-and-gore effects that are nevertheless stomach-churning, lots of nudity and some nice cinematography that mimics the drug experience, The Tripper even has pictures of all the politicians it hates in the credits.

The Tripper may be for horror fans only, but it is an unpretentiously daring attempt to launch a broadside at a morally righteous right-wing establishment that is ankle deep in dead bodies of political making.

I decided to see this movie mainly out of boredom plus an eye-friendly cast was promised, so i basically thought it'd turn out to be another standard popcorn horror flick. Thankfully, what i discovered was notably more enjoyable.

Yes, it is true to say that it does follow along the same vein as many other horror movies in that many key aspects of it are quiet predictable. However, in spite of this, a distinct empathy can be felt for the majority of the protagonists, who you really don't want to fail victim to the insane, murderous, mountain psychos. Not alone this, but I feel that it is safe to proclaim, as i'm sure have and will many others, that the atmosphere is one of well created nail biting tension, which lasts throughout the duration of the film.

In fact, I found the atmosphere that the movie exuded to be so compelling that I failed to notice certain flaws that would normally aggravate me in a film. I of course will refrain from elaborating on these details so as not to spoil the viewing for those who have yet to see it.

What I really liked about this film was that it didn't try what so many other horror movies as of the last seven years or so haave tried- and that is to be ironic. It is just a horror movie, with the distinct and generally successful aim of scaring and entertaining. Its atmosphere undeniably achieves this, however its not alone, it is true to say that this film is not for the squeamish. Several scenes prove to be quite graphic.

In this respect, I would have to admit that Wrong Turn doesn't have the makings of changing the world of movies as we know it, but it does however, have the capacity to push you to the edge of your seat. My advice is, if you're a horror fan, its well worth the watch!

It's been over 20 years now since we saw the first Sleep away camp movie and with its shocking twist! Well that movie was Cheesy and Fun to watch just like Return to Sleepaway camp (2008) It dose have the 80's feel to whole the movie, Acting is very cheesy and funny! The movie starts of were the boys are messing around in the bed room as Alan come in trying to be a big shot but fails.

Later all the campers are in the canteen having lunch while Frank tells them to shut the hell up so the security man can tell them something but he can't speak normal because he used to smoke a lot! And use some kind of tool to talk, of course everyone make fun of him.

Meanwhile Alan is being pain as he won't eat the food that everyone is eating so he throws it on the floor and then Randy grabs him and tells him to eat it of the floor! The fight is broken by Ricky (who I think was in the 1st Sleep away camp movie) As Alan goes to see the cook and then the cook tell him not to eat the ICE CREAM but again Alan dose not listen and then The cook start to throw eggs at him, which make Alan fight back then throws knife at the cook at the same moment Frank see this and tells Alan to go to his room.

Later a person in black coat and hood of the person head come in a kills the cook by pushing him into the deep fryer and gets rid of he body.

The next day Frank thinks that the cook did a runner, so no one knows he was killed.

Again Alan is get in being bullied by everyone boys and girls most of the movie.

While everyone doing these pranks on Alan, more bodies end up dead! Then the girl that Alan likes traps him into the worst prank of all time! That makes him mad, screaming mad! And then runs into the woods.

Ricky has a very weird feeling that Angela is back but no one believes him (I don't believe he can act lol) (All deaths scenes were so bloody awesome, 10/10 for every deaths scene!) When the bodies are found dead, everyone says it's Alan who killed everyone! Is it Alan? Or is Ricky right that Angela is back? Or is a new copy cat killer on campus? Overall I was not disappointed in this movie, I didn't expect to like at all. Also really like the twist., I didn't see it coming!

The acting wasn't great at all but it was perfect for B- movie. I love the deaths scenes just made this movie great for me.

The third instalment in the "Sleepaway Camp" series is terrific fun, featuring another strong performance by Pamela Springsteen. It's a great shame that Springsteen decided to follow a career in photography as I would have welcomed further movies from this actress.

"Sleepaway Camp III: Teenage Wasteland" is comic horror; the bloodshed is played for laughs but there are some effective scenes. While I'm a fan of the "Friday the 13th" films, I actually find the straight-to-video thrills of Angela more entertaining.

The always-fantastic Michael J. Pollard is suitably seedy as the counsellor with a penchant for young girls.

This is an entertaining straight-to-video horror flick that moves at a good pace and features strong performances from all involved. With some snappy one-liners, a dark sense of humour and some amusing scenes, this is a recommended genre film.

Sleepaway Camp 2: Unhappy Campers is one of my all time favourite horror films it has just the right amount of jokes and blood in it to satisfy almost anyone. I can see where some might be turned of by it's ultra cheap look, but hey thats what makes it so good. Michael Simpson does more with the budget on this movie than Michael Bay could ever do with 100 million dollars on his crap fests. This movie moves at an ultra fast paced that makes it 79 minute run time seem like only thirty and leaves you wanting more and they gave us more a year later. I'll save my love for Sleepaway Camp 3: Teenage Wasteland for my comment on it. But with two, Pamala Springsteen does more with the role than Felsia Rose could ever hope to do. Rose just sat around and drew us to her as the killer. The only thing shocking about the killer in the original was what extra part she had. I never for one moment thought Rose was not the killer on Sleepaway Camp one. No matter though with the exposition out of the way Pamala Springsteen (Yes she's Bruce's sister) gave us through her performance one of the best female slashers of all time. And yes I know technically she's not a girl, but she was raised as one and thus has the feelings of one, though not the sexual ones. The supporting cast in this one is great too and I love all there appearances. Renee Estavez stands out the most and I wished she had followed in her fathers, and brothers foot steps she could have done other great work. The fact that all the characters are named after brat pack members is funny too, but not as funny as the Happy Camper song, I freaking love that song. Everyone should watch this movie as it is a classic. If the fact the first one is sort of cruddy has deterred you, get over it and watch this masterpiece of cinema. Also Bring back Springsteen not Rose

This is 80's American Cheese at it's greatest! The cast does a great job and the script is actually really good. If your a fan of cheesy slasher flicks this is one you should certainly check out...and absolutely DO NOT MISS THE ENDING!!!! One of the creepiest endings I've ever seen in a movie which is sure to give anyone the chills. A truly wicked low budget horror flick.

By far my favourite of the early eighties dorm slashers, THE PROWLER is an excellent and exciting film brought to the screen with finesse by Joseph Zito. He also directed arguably the best of the FRIDAY THE 13th sequels - The Final Chapter. He shows us his love for the hack and slash cycle here, by renewing a few scenes from two of the genre's pioneers. You've got the 'murder in the shower' fresh out of Hitchcock's renowned classic PSYCHO. Here Zito makes it a lot more brutal, with some realistic and visually stunning gore effects from horror maestro Tom Savini. And then there are various references to Carpenter's HALLOWEEN, including the assassin digging up the grave of the victim he killed some 35 years earlier. Michael Myers steals his sister Judith's headstone from her grave when he escapes from his 15 year spell in Haddonfield's asylum. But although there are brief nods to his obvious influences, Zito also manages to supply some originality and some genuinely scary sequences. Back in the day it was thought that he was going to be the next Tobe Hooper after his flawless work within the horror genre. But sadly he went on to work with more action-orientated films such as Missing in Action, Red Scorpion and Invasion USA.

The plot is believable and also extremely well written. It opens with black and white footage of GIs returning victoriously from WW2. Cut to a letter from a girl named Rosemary to an unseen receiver, stating how she 'does not want to hurt him, but could wait for him no longer...' In other words someone's been dumped and it looks as if a few people are going to have to suffer because of it! Again cut to Avalon Bay Graduation dance 1945 and we're shown the lady Rosemary for the first time with her new 'fella'. While the host merrily talks about Glenn Miller's death, Rose and her cocky boyfriend head out under the stars for a spot of good old harmless (or extremely harmful in these films!) huggin' and a kissin'! They choose a spot at the end of a brightly laminated pier and continue to smooch the night away under the stars, unaware that a somewhat unfriendly looking guy disguised in GI garb and brandishing a bowie knife is watching their every move! Suddenly the lights go out, and Rose and her partner are brought a little bit closer together...Both impaled on a pitchfork!

Skip 35 years and Avalon Bay is preparing for the first graduation dance since the fateful events that occurred before. While the young enthusiastic teens are shown getting ready to find romance at the dance, it looks as if a certain unknown someone is preparing for another bloody massacre. One girl unknowingly predicts the events that follow while she's getting dressed for the party by saying to her sulky looking friend "Hey you're not gonna mope about tonight are ya? Some of us will never see each other again..." Her remarks prove to be surprisingly accurate!

THE PROWLER is often pipped in the popularity stakes by the same year's similar slasher MY BLOODY VALENTINE. Many reviewers also find the latter to be the slightly better of the two. However I beg to differ, because even though MBV is a decent enough movie, I find this to be a scarier and for the most part more sinister attempt with a much stronger cast. Zito's spooky direction is superb and Savini's 'almost too realistic' gore touches just round it off perfectly. There are a few jumps to increase your heartbeat and I strongly wouldn't recommend any young femme fatale who's trying to grow her finger nails to watch this flick alone, because there are a couple of scenes when I guarantee you'll be biting them off!! One of my favorite ever murder scenes is also in this flick, the excellent swimming pool killing. A female teen who is bathing by herself under the moonlight paddles over to the ladder to climb out of the pool. She reaches the steps and begins to ascend them when all of a sudden she is brutally kicked in the face. She finally comes back to her senses and looks around to see who attacked her, but no one is anywhere to be seen! The silence is broken when the killer jumps out of the water behind her and gorily slices her throat in amazing detail. Watch for the blood that leaks out of her wound as her lifeless body sinks in to the murky depths of the cold water; it's Savini at his best...Excellent! The cast are also superb, which, must've helped the general production no end. Veteran actors Farley Granger and Lawrence Tierney have small roles, but the real 'round of applause' goes to fresh faced newcomers Goutman and Dawson who actually steal the show. It's only a shame they never went on to do much worth noting in the movies after this.

All in all THE PROWLER is everything a slasher should be dark, scary, gory while at the same time fun. It's incredibly underrated so I would most definitely recommend it, try and hunt down a copy if you can and I guarantee you will not be disappointed!

One of the seemingly endless films to be 'Banned' by the British Board of Film Classification in the mid 1980's, "The Burning" has managed to find itself back on British shelves in the presumably less censorship-dominated 1990's. Or maybe not. For, what British audiences are 'Allowed' to see if they decide to view this 'New' version of the low-budget horror is "The Burning" minus nineteen seconds. The day someone finally exterminates film censors is the day I'll be happy. Surely giving a massive warning on the films video cover, not to mention an '18' certificate is quite enough!

Anyway, moaning and grumbling aside, "The Burning" is, in fact, a slightly above par horror movie, more in the "Friday the 13th" vain than any other horror movie. The story deals with a group of teenagers, who, spending the summer at a holiday camp, find themselves being stalked by a burn victim who has mysteriously come back from the dead....

Anyone whose even remotely familiar with the conventions of slasher films will find them everywhere in "The Burning," and there's little in the way of shocks or surprises throughout the film. Thanks to the censors, the nastiness and gore isn't as nasty or as gory as it should be (Which, to a degree, greatly affects the movies impact), but, there's no denying that the boat scene alone is worth seeing this movie for - Using some top notch editing and clever point-of-view shots, director Tony Maylam has created a horror movie scene which surely must register up there with some of the all time classic moments - It really is quite exceptionally tense and frightening.

The acting isn't too good, no, but that's sort of become a slasher convention in itself, and the final showdown is as predictable and silly as much of the film.

Even so, there's no denying that "Thr Burning" is pretty well made, and, to be fair, considering nearly twenty years have now passed since its production, time hasn't taken its toll too badly either. It's certainly a better slasher movie than "Scream," and, needless to say, many of the big budget horror pictures coming out in the cinemas nowadays.

This has to be the most unintentionally funny film I have ever seen. I cannot believe there is not a goofs list for this film, when it contains the worst bit of Continuity EVER!! Imagine the scene, the young star has a flashback, her and her mother are trapped on an opening bridge. As it opens, the car falls, spins 180 degrees and lands roof first in the water. The Director, Editor, whoever, obviously loved this stunt as we see it 4 times, in slo mo, from 4 different angles, then, as a climax to her flashback we see it one more time, this time, however, the car falls into the water Roof UP!!! Who was editing this thing?? Anyways, its worth a look for its laughs, and has a few decent effects too, including a kebab skewer through the head. Watch it, you may actually like it!!

When young Karen Spages is strangled and set on fire in a Catholic Church at her first communion, her disturbed older sister Alice is the central suspect, because of her jealously towards her. Her estrange father Dominick arrives in town for the funeral. Catherine her mother and Dominick believe Alice is an innocent victim, but when her Aunt Annie is attacked by someone in a yellow slicker and plastic doll mask, she believes it's Alice. The police take Alice in, where she tries to convince them that Karen is alive and stabbed Annie. And their lie detectors goes on to prove it. Dominick with the help of father Tom try their best to investigate just who might be behind the actual attacks.

Alfred Sole's effectively accomplished direction, atmospheric handling and astutely symbolic, psychological tampered plot really do go real long way to covering the flawed aspects of the commendable production. In what might have damage other films, only goes on to be a minor quibble here because there are so many glowing factors, which are amazingly pulled off for an impressive low-budget effort. This is one of my favourite 70's horror oddities, which breaths a fresh air in its premise's circuitously glum layout, an ominously nasty streak, purposely stinging jolts and being filmed on authentic locations in New Jersey.

What makes the unusually cunning and certainly unpredictable plot compelling, is that so much can be read from it, like it's penetrating thoughts on Catholicism too the prolific character developments involving the hardships of family life, but there's no lying about its true intentions, which did kind of got mingled with the baffling conclusion. Making repeat viewings a must, to pick up on those minor details. Some fundamental devices in the plot show up; the usual police investigation is the glaring one, but it never draws away from the main focus and adjustably installs itself into the material. There are some odd and eccentric characters written in also, which catch onto the emotional ride. Some might think the tension will evaporate, as just after halfway through the killer is unmasked, but the story's slow rising sinisterness early on eventually leads to a brooding intensity that actually seems to fester up, for the thrilling final third with one powerful conclusion to boot.

Sole does a vividly lucid job in the director's chair with moody imagery, creative viewpoints and uneasy composition, backed up by disquietingly stylish jolts timed with utter perfection. However in spots it can drag with it's deliberately slow pace and a densely thorough script, which can labour along. Maybe it was a tad too long. Also illustrating the film's disorienting air and unsettling suspense was John Freeberg's gracefully skilled cinematography and Stephen Lawrence's playfully chilling, but occasionally harrowing musical score, which expertly went hand-to-hand to craft out an overwhelming tenor. The killer goes around in a shiny yellow slicker, white gloves and the chilling doll mask they wear, actually gives me the creeps. The performances are noting to write home about and might be gauche in some cases, but there's no denying that the matchless Paula E. Shepherd is startlingly convincing as the creepy Alice. Linda Miller does exceptionally well as Alice's heart-aching mother Catherine and Niles McMaster brings a solidarity to his performance as Alice's stalwart father Dom. Jane Lowry can get fittingly overbearing as the haughty Aunt Annie and the unforgettable Alphonso DeNoble keeps it all vile as the grubby landlord. Even with the high billing that Brooke Shields receives, her debut performance is efficient and her death memorable, but not worth all the fuzz for only 15 minutes. Mildred Clinton, Rudolph Willrich, Michael Hardstark, Tom Signorelli, Lillian Roth and Gary Allen go on to give able support.

An uncomfortably staggering affair with many dimensions to its story and inspired craftsmanship by Sole and co, which go on to make it a very good unappreciated gem of the 70s.

I'm kind of caught here. I somewhat liked it, but came away rather under-whelmed because it was all too familiar and there was something more interesting within this strange horror/thriller premise than what was chalked up. Even with some creative cracks, it should've been better. The story's direction seems a little uneven if it wants to go out to shock (a good amount of blood splatter is spilt), or play its cards for psychological torment. Something about it never entirely fulfils. The performances are the main reason this one doesn't slip off the mind too quick. The beautiful Jennifer Rubin is exceptional in brining out a vulnerable side, which is counter-punched by determination. Alongside her are a very good Bruce Abbott and a towering Richard Lynch brings an uneasy subtly to his menacing character. Harris Yulin, Sy Richardson, Susan Ruttan and an amusingly batty Dean Cameron chip in with durable support. Andrew Fleming's leisured direction is stylish, but has that breakable quality to it. Good use of lighting, colouring and composition in pockets drips of atmosphere. The material is enjoyable (if minimal), as the protagonist tries to overcome the hallucinations that might be because of her unstable state of mind or the simple reality of being haunted by a restless spirit. There's some black humour evident, but the by-the-numbers script goes about things rather seriously. As well it has a fine and compelling soundtrack to boot. The special effects and make-up FX stands-up well enough. A decent little film.

A very personal film for Cronenberg who was going through a divorce during the time of its making, The Brood has all the Cronenbergian motifs, plus great characterisation and a great performance from all involved.

Dr. Raglan (Oliver Reed) who is experimenting with metaphysical rage runs the Summerfree Institute. There he encourages his patience to indulge in allowing their inner anger to materialise in warts and blisters on their body. One of his patience is the demented Nola (Samantha Eggar) who has taken Raglan's therapy to the next stage. Her rage is apparently so potent that it results in The Brood, a savage group of dwarfs that emerge from the cysts on Nola's body. Unfortunately, Nola has another child, Candy and when her ex-husband, Frank (Art Hindle) finds that his wife is too unstable to look after their child he suppresses parental access. Nola goes even more insane and the brood ventures out to kill all those she believes have or may cause her harm. Although the carnage isn't excessively violent, the scene where Nola produces one of the dwarfs from a bloody sack and licks it clean leaves a nasty aftertaste.

Cronenberg has long been associated with fear of biological change, but is surprising that not many have picked up on his fascination, or dread of organisations. There's the Starliner Towers (Shivers), Keloid Clinic (Rabid), Summerfree Institute (The Brood), ConSec (Scanners), Spectacular Optical (Videodrome), Bartok Industries (The Fly), The Mantle Clinic (Dead Ringers), PildrImage Manufacturers (eXsistenZ).

This is an exceptional film and returns Romero to the genre he created with vengeance. Simon Baker leads an all star cast that includes the mesmerizing Asia Argento, the witty John Leguizamo and the perfectly demonic Dennis Hopper. The post September 11 themes are buried within the script and the character development is better than expected. The overall concept is a bit weak, "they just want somewhere to go" is a bit stretched and I'm glad that he kept with his traditional ways of having the zombies move slow as sin. Romero has always been a dramatic-concept director and not an overly flashy choreographer of elaborate and beautiful sequences (i.e. zack snyder's wonderful remake of "Dawn of the Dead" was a great film unto itself and he did an extraordinary job modernizing it?but without Romero's initial vision, the film wouldn't exist.) It's unfortunate that audiences didn't embrace this entry into the "dead" series. Anxiously awaiting World of the Dead.

This is one of the most under-rated films ever. It was practically doomed to cult-status from the word go. Basically, George Romero wrote a script and took it to a company to get it funded. They like the script and offered George 7 million dollars on the condition he would make the film R rated. George however refused to compromise so they only gave him half that, 3.5 million dollars (next to nothing for a movie) to film an Unrated film -this was because an Unrated movie wouldn't make too much money back. This led to the script being completely re-written so it could be made on the budget. Most of the elements from the original Day were worked into the recent Land of the Dead. Unfortunately, not many cinemas were willing to screen Unrated films as they were too much hassle and not many people would go to see them. Even more unfortunately, 1985 saw many big R rated horror films being released which attracted all the attention away from Day. Many critics and fans complain about this movie, calling it the worst in the series. This is far from the truth. Most people who don't like this movie judge it purely on technical details such as the standard of the acting or the music. Considering the budget, everything in this film is amazing. I personally thought the music completely worked in the film too and some of it was incredibly effective. And the make-up and special effects were incredible, even by today's standards. This film has the best zombie make-up ever, period. For people who don't mind B-movie standard acting, or few locations and other features of low budget movies, you should definitely give this film a try. It's continues with the social messages of society we see in all of Romero's movies. This time it's a mix of how the military basically take control and cock stuff up and (in the style of Lord of the Flies) with no policing, people turn into monsters. Along with the bleak view looking at how easily our society fell apart. The opening of this movie is incredible and very atmospheric. This film also features the greatest zombie ever: Bub. He's friendly, and uber-cool. Trained by scientist Dr. Logan to not eat people. Believe it or not, this film is the closest a movie has ever been to making me cry (if you've seen it I'm talking about when Bub discovers a certain someone's body in the freezer). I don't know what that says about me but whatever. This movie is also the only film I have seen which managed to make me jump with me watching it on the small screen (very, very start with the arms coming through the wall). The film plays off it's sense of claustrophobia well to make it what is probably the scariest in the Dead series (though that still isn't saying much). By the way, Gorillaz, an amazing band seem to love this movie as they have sampled sound clips on several of their tracks including "M1 A1" and "Hip Albatross". They've done the same thing with the original Dawn of the Dead too. Too anyone who has seen 28 Days Later..., 28 Days Later... is a Day of the Dead rip-off! I'll go into that when I get round to reviewing 28 Days Later..., for now, just take my word for it. Not that 28 Days Later... is bad by any means though, but Day of the Dead is still way better. Finally, Day of the Dead actually tries something new with the genre. It would have been so easy for Mr. Romero to simply show a few survivors in a bunker hiding from zombies for most of the movie; instead he mixed in the ideas of experimenting on and training the zombies. He's a magnificent director. In short this movie surpasses it's predecessors "Night of the Living Dead" and "Dawn of the Dead" and both films set the bar incredibly high. It has the best story, make-up, atmosphere, character development, is scariest and is generally the best of the 3. It's also better than it's sequel "Land of the Dead".

Dawn of the Dead is concrete proof that extreme gore and violence doesn't always equal a dumb movie and that the two can make very nice bedfellows indeed. This film is a rare thing in that it will please both gorehounds and fans of art cinema, and there isn't a vast amount of films that do that. Aside from doing what I've just mentioned, this follow up to Night of the Living Dead established George Romero as a household name in many a gore fan's home and his trilogy of zombie films will ensure for ever more that the name 'Romero' and the zombie film will always go hand in hand. The plot of this film follows four survivors of the zombie apocalypse that has ensued after the events of Night of the Living Dead as they hold up in a shopping mall to try and hide from the events going on in the outside world. However, this poses another problem, as once their home has been built up in the midst of the atrocities; will our hero's be able to give up all that they have built?

The commentary on society and the trappings of consumerism that Romero appears to be keen to implement in his film come off as being somewhat muddled, due to the fact that it's lost under the reality that what we see our hero's doing makes absolute perfect sense. This, however, is where the genius behind the commentary comes into play; it's a depiction of what people within a consumerist society would do in this situation, which makes the commentary all the more potent. Despite it being a film about zombies, Romero implements a sense of realism into the proceedings, which works due to the fact that he never overindulges in anything. Sure, the gore towards the end is over the top; but even that is realistic as it is what you would expect a zombie massacre to be. Because of his sense of realism, we are able to care for the characters that Romero has presented us with, even though we really know little about them. The audience is able to put themselves into their situation and we are constantly given the feeling that we are actually involved in the events on screen. This makes the ending of the movie more potent by way of the sense of security that Romero has lulled you into throughout the movie, and at the end; we really feel for what is happening to our characters and even though we want to see the massacre happen (as that's why we're watching the film at the end of the day), we sort of don't want to see it at the same time. This kind of mind-game isn't carried off successfully very often, but Romero has it down to an art form here.

The movie benefits massively from a great score by Dario Argento's house band, Goblin. In fact, with the obvious exception of Suspiria; I would even go as far as to say that this is their best work ever. The score blends so well with the happenings on screen that it's impossible to have one without the other. Some films have a superfluous score, or one that doesn't add anything to the film; but it's undeniable that the score of Dawn of the Dead not only adds to what we're seeing, but 'makes' it. As many people will be tuning in to see gore, I am pleased to tell you that this film doesn't disappoint in that respect. It's one of the goriest films ever made, with many sequences reaching a level of disgustingness that is rarely seen in cinema (intestine dinner, anyone?). As you are probably aware, Tom Savini did the make-up effects for Dawn of the Dead and it is the film that made his career and established him as the gore guru that he is often seen as today. The film is also notable for a certain line that has been quoted more times than any other line uttered in any other horror movie. I am of course talking about the fabulous; "When there's no more room in hell, the dead will walk the Earth".

Dawn of the Dead is undoubtedly one of the most important films ever made. It inspired a barrage of rip-off's that are still being made today and it stands tall on many a horror fan's list of favourite horror films. Dawn of the Dead is one of the most recent films to inspire a remake and, unfortunately, it turned out to be terrible. Not that it matters, as the original is where it's at; and this film is an undeniable masterpiece.

The Descent is purely terrifying. It will provide you with an experience that relates entirely to those of the characters on screen. Each one is trapped, isolated and alone. In that theatre, you will understand the fear of having no escape. The film, like it's big brother 'Dog Soldiers', takes British horror to it's deserved glory. Unlike such films as 'Creep', which was a complete mess, The Descent is a chilling experience that places believable characters into a situation that is strangely real, despite the obvious fiction. After a quarter of the film has passed, you pray for the characters escape as, in a way, you will also be saved from the mental onslaught that drives into your mind throughout. I didn't expect anything from this film before I walked into the theatre it, yet it is the greatest horror I have ever seen, and am likely to for a very long time.

Hell of the Living Dead is a gory Zombie flick that's actually very good. The gore is brutal and the action is great, the music from Dawn of the Dead was nice since that's one of my other favourite Zombie flicks, the S.W.A.T uniform was identical to the S.W.A.T uniform in Dawn of the Dead.

The stock footage is interesting since some of them doesn't have any plot like a monkey jumping to a tree or a group of fruit bats flying about but Bruno Mattei explained on the interview that the stock footage was used to make it seem more like the New Guinea jungle, the footage of the tribe had a plot to the film since they was in the village with them.

The Zombie make up was good and looked effective, the whole singing in the rain bit was a laugh especially when the Zombies get him. Hell of the Living Dead (Zombie Creeping Flesh, Virus, Night of the Zombie) is a great low budget gory Zombie film that does not disappoint on the violence, check this one out.

Sam Raimi is currently getting a lot of attention and acclaim for directing the over-hyped blockbuster 'Spider-Man'. That movie has introduced him to mainstream filmgoers, no bad thing in itself, but to many of us Raimi is already a legend, because he created 'The Evil Dead', without a doubt one of the greatest horror movies of all time. Made on a shoe string budget as a labour of love, it still remains Raimi's best movie. He has subsequently worked on bigger projects with bigger names but it is arguable whether he has ever surpassed the invention, thrills, energy and sheer fun of this. And why Bruce Campbell never became a genuine movie star after his debut here, and not just a much loved cult figure, is a complete mystery to me. 'The Evil Dead' is a modern horror classic and absolutely ESSENTIAL viewing for any self-respecting movie buff! It doesn't get much better than this!

Over one century ago (1897 to be exact) in the dingy back streets of Montmartre, Paris, an eccentric ex-secretary to a Police commissioner named Oscar Metenier, opened the Theatre du Grand Guignol. For 65 years, groups of performers staged one-act plays that depicted graphic scenes of murder, mutilation and torture. Famous works by authors such as Charles Dickens and James Hadley Chase were adapted for Grand Guignol and made into, some might say, horrific gore-laden masterpieces. People's morbid curiosities kept the shows ever popular, all the way up until the Nazis invaded France during World War II. Perhaps because the French population was experiencing true horrors of their own, the urge to see such events portrayed on stage, quite obviously became a lot less alluring. The theatre never recovered, and it finally closed its doors for the last time in 1962. William Lustig's Maniac is basically Grand Guignol for the cinematic audiences of the eighties. A movie that viewers of a quainter disposition will describe as depraved, demoralising and redundantly mean spirited, while others have touted its story telling as artistic, ballsy and daring. Although its often labelled as a formulaic stalk and slash offering, it is actually a member of the sub, sub-genre that differentiates itself from the Halloween and Friday the 13th created format. Along with Nightmares in a Damaged Brain, Mardi Gras Massacre, and Don't go in the House; Maniac offers something refreshing, by giving the killer characterisation and making him more than just a loony in a mask with a machete.

The plot portrays the life of Frank Zito, an insane and stammering psychological mess of a man, with more than a few severe problems upstairs. His story unravels around his decent into madness, which stems from his seclusion and isolation from the outside world. He is a lonely, redoubtable character, with no friends or companionship; he's just alone with his fragmented mind to torment him. His desperation to feel accepted by civilisation results in him creating his own 'family' from female mannequins. To add realism to their beings and to make them as human-like as could be possible, he furnishes their heads with the scalps of women that he butchers remorselessly. In the first ten minutes, an unfortunate prostitute is ruthlessly slaughtered for no apparent reason, and the misogyny continues all the way through the movie; as nurses, models and innocent bystanders are gorily slain for nothing more than the misfortune of being in the wrong place at the wrong time. The creepiest thing about these murders, is the fact that Zito has no apparent understanding of the results of his actions. He reads headlines, which describe the feelings of a city left in fear by his spate of madness and he watches news updates that inform us of the aftermath of his bloodthirsty rein. But his reaction is non-existent; he shows no knowledge of any wrongdoing, almost like he is unaware that he commits such atrocities. His mental downfall takes a U-turn, when he meets up with Anna D'Antoni (Caroline Munro) a photographer that attracts his attention for the first time when she snaps him wondering through a park. We finally get to see a thoroughly different side to his character, - a romantic, insecure personality that's been buried beneath years of self-inflicted misery and emotional torture. There is a constant battle between two separate personalities that rages inside Zito's mind however, and Anna's fate depends upon whether the good or evil side emerges victoriously...

The opening sequence stays true to its stalk and slash counterparts; as the masked, heavy breathing Zito kills a loving couple on a beach. Lustig describes the scene as a homage to Jaws, only this time the monster is out of the sea and on land, thus explaining the beach setting. It's a well-handled commencement, with Savini adding the magic that he is most reputed for; and Robert Lindsay's competent photography creates energy that prevails throughout the whole movie. Although body count material is introduced without any characterisation or development, it can be argued that the story resolves around Zito; and to him, victims are only objects or playthings anyway. I have always considered Bill Lustig to be a highly underrated filmmaker. Maniac Cop was yet another great movie, although I would consider this to be one of his best - probably because he was relatively unknown when he worked it. The parts that were filmed inside the killer's flat are shot in complete silence, which effectively adds to the feeling of seclusion and abandonment. It's like the viewer is inside the character's apartment, but also inside his own remote world, where his loneliness has degenerated into an unrelenting insanity. It's added moments like these that make Maniac all the more creepy. The subway scene adds some awe-inspiring suspense, as Frank stalks a nurse through the station. Lustig does well to keep the atmosphere tense and the viewer is always aware that something is about to happen, meaning there is never any allowance for comfort in the fact that any of the characters will escape to safety. He also manages at least two effective jump-scares, the final Carrie-esque jolt being particularly memorable. Jay Chattaway provides a superb score to accompany the visuals, and Lorenzo Marinelli's editing is equally impressive.

Although you could never call Joe Spinnell a fantastic dramatic performer by any of his pre-Maniac work, Frank Zito (named as a nod to Joseph Zito the director of The Prowler and friend to Lustig and Savini) was undoubtedly the part he was put on this planet to play. It's a convincing performance that allowed the actor to immerse himself deep into something that he had researched thoroughly and accurately, giving his character a vivid portrait of realism that was necessary to create the child's nightmare-like quality that the movie possesses. Spinnell is Maniac and Maniac is Spinnell, there's no doubt about it; it was his signature role. It's impossible to imagine another character actor fitting the bill so perfectly. Not only does he play the part; he also looks and sounds it too. He wasn't the only one that hit a career high under Lustig's direction though; the ever-adorable Caroline Munro gave her most realistic portrayal too. Her star had just reached its zenith in 1980, before she became a scream queen in less memorable flicks such as Slaughter High and Faceless, which would supplement her income, well into motherhood. This also offered a chance to break away from the bikini-clad bimbo roles that she had been given up until that point; and it gave her the chance to try something a little different. I strongly respect her refusal to do any nudity, which cost a further contract with Hammer in the early seventies. It takes a strong women to reject such offers for the sake of her modesty, and Munro proved that she was just that; and her career strengthened because of it. It's worth noting that the pair were reunited two years later for Fanatic (aka The Last Horror Film), which lacked the gritty edge and invitingly sleazy surroundings of its predecessor, but attempted to cash-in on the fame that Lustig's film had earned from its gruesome reputation.

Maniac was filmed on super 16 mm and like the best slashers from this period, it was shot for the most miniscule of budgets ('under a million dollars'). A lot of the on-location work was staged illegally, without any insurance or authorised permission. Lustig anecdotes about the exploding head scene (no less than Tom Savini's, by the way), where they had to fire a shotgun through the windscreen of a car and then make a quick getaway, before the Police arrived to investigate the gunshot! Munro was given only one-day to rehearse the script before starting work, due to replacing Dario Argento's wife of the time, Daria Nicolodi. Admittedly, it does seem pretty strange that a woman with a name as Italian as Anna D' Antoni, would be played by an English Rose; but she does a good enough job and is truly a sight to behold. Many, MANY countries rejected this movie on the grounds of its unnecessary violence towards women; including the censors here in the UK, who made sure to add it to the DPP list almost immediately. The Philippines' board of film review was so outraged by what they discovered that they told the producers to take it to Satan instead of their country, and went on to describe it as 'unentertaining' and 'unfit for Human consumption'! Of course, knowledge of those monstrosities, only made it seem all the more curious to youngsters that had heard such tales of unruly degradation, and were eager to check it out for themselves; thus earning it a massive cult following. Upon release, it became immensely popular, although it was heavily criticised for its brutal violence. Spinnell said that the blood was never on screen long enough for his creation to be considered too gruesome. He lied; - there are parts of the movie that are limitlessly gory and blood-soaked. You'll find decapitations scalpings and dismemberment, - if you can name a gory way to slaughter a female, then you'll find it somewhere in here. Maniac is one of the only video-nasties that have managed to retain its shock factor, even after twenty-four years!

I saw an edited copy of this in the mid-nineties and was unimpressed. Perhaps my attentions were elsewhere or I was expecting something more? I can't be sure, but last night, watching it once again for this review, I found myself captivated. There are flaws, yes for certain. It's unlikely that a beauty as striking, as Anna would give the time of day to a misfit like Zito in the first place, and the end sequence is a little bizarre to say the least. But all niggles are forgiven when you acknowledge the effort that has been put into making this production as realistically as they possibly could. Credit has to be given to Spinnell for believing in the project and his dedication and research into serial killers deserves recognition. I haven't yet seen Henry Portrait of a Serial Killer, although I'm told that the two movies have a great deal in common, so I'm after a copy right now. Maniac has earned itself another fan, and I believe that it deserves to be seen. There has never been, and probably never will be, another movie so depraved and disturbing; so grab a copy whilst you've got the chance. It's an innovative and daring take on the standard slasher genre, which succeeds because it is just that.

And so finally the slasher 'Holy Grail' has been re-discovered and after twenty-eight years of patience, we can finally see the nearly-complete version of this hugely popular early-eighties slasher.



Notorious for being the film most tortured by censors upon its initial release, My Bloody Valentine has become something of a cult classic with a large number of fans. Even the most lukewarm horror enthusiast must admit to being slightly excited by the prospect of witnessing all the notorious gore that has, up until now, only been seen in a set of studio stills. The previously available print was missing over 9 minutes of footage, which thankfully producer John Dunning has now located. The on-line campaign to get the full uncut copy restored and released was one of the largest of its kind and thanks to the efforts of the movie's legions of adoring fans, we now have a special edition disc with nearly all of the glorious splatter intact.

A small mining town in Canada has become famous over the years after a maniacal ex-miner went on a killing spree in the early sixties. He was the only survivor from a fatal accident on Valentine's night that stole the lives of numerous workers and left him having to survive by feeding on the corpses of his colleagues. Harry Warden murdered the supervisors that he considered responsible for the tragedy and stuffed their hearts into candy boxes to remind the townsfolk that their incompetence should never be forgiven. Twenty years later and the town is preparing for its first Valentine's dance since the gruesome massacre, but it seems that it is not only the decorations and romantic spirit that has returned. As a mutilated heart is sent to the local Sheriff with a gruesome warning that there will be more murders, it seems apparent that Harry Warden has come back once again....

My Bloody Valentine is certainly a fine example of all that gave the most popular eighties slashers a significant standing in the annals of horror cinema. It boasts a likable cast that make up for their lack of A-list dramatic credibility with a warmness and depth of character that although laughably cheesy, evokes sympathy from the audience. The love triangle between the three leads is an intriguing sub-plot and the script is strong enough to allow the characters to work their way into the hearts of viewers.

It can also lay claim to arguably the best arsenal of marketable gimmicks ever to be included in a single splatter feature and if the authentic calendar date doesn't induce your interest, then it's impossible to resist the excellent guise for the maniacal killer and the creepy mine location. The gas mask adds an extra dimension to the killer's essential-clichéd heavy breath and the pickaxe makes for an exquisite tool for gory slaughter. You can almost visualise the director's smile upon witnessing for the first time the awesome sight of his bogeyman strolling through the dimly-lighted shaft and stalking his intended victims. In terms of slasher visualisations, it's pure poetry-in-motion and Mihalka understandably milks the possibilities.

Mihalka is no John Carpenter, but he does an impressive job in building suspense and he creates one or two decent jolts. The cast are surprisingly good for complete amateurs and their above-average performances are a rare and welcomed bonus. It was a conscious decision from John Dunning, the producer, to use actors that boasted far more potential than they did impressive CVs, because he wanted to invest heavily in the special effects. Mihalka has said that people don't go to see a slasher movie to witness a 'name' actor. He is right in acknowledging the fact that the amount of money a producer would spend on such a performer just to see him get splattered on the wall is an entirely pointless exercise.

You only need to take a brief look at my review list to see that I am an avid 'slasher-fanatic', but My Bloody Valentine has never been amongst my favourites. I often wondered how the movie could have even been considered to be better than the likes of Intruder, The Prowling or even Curtains, because to me it felt like I wasn't watching the vision that Mihalka had initially intended. Now, with most of the gore intact, the film feels 'complete' and in its entirety it is a completely different concept. Despite popular belief, there were many early slashers that were stylishly produced and genuinely strong entries to the horror catalogue. My Bloody Valentine is one such feature and its well-deserving of its legion of admirers.

The gore effects are as decent as their reputation would lead you to believe and the movie credibly mixes approachable characters and mean-spirited mass-slaughter to create an excellent mix of moods. Unfortunately we are still missing Michael and Harriet's death scene, which was either a decision by Mihalka (perhaps it looked too fake?) or that particular footage was never recovered by Dunning. It doesn't really matter however, because finally we have a copy of My Bloody Valentine that has nearly everything that was intended and Sylvia's remarkably grisly slaughter and the notorious 'pick-axe through the face' are visions that are an iconic part of the whole slasher cycle.

If you are even a half-hearted fan of early eighties stalk and slash flicks then I urge you to part with your pennies for this excellent example of non-franchise slash with panache that sums up everything that was great about the early eighties domination. No collection is complete without this sitting on a shelf next to Joseph Zito's The Prowler and Mark Rosman's The House on Sorority Row. The Harry Warden legacy has finally come full circle.....

Juan Piquer Simon's "Pieces" is one of the most hilarious slasher movies ever made.In the early 1940's a little boy is caught by his mother while he is assembling a puzzle with a naked lady on it.The boy gets mad when his mother takes his puzzle,so he kills her with an axe.40 years later somebody butchers random college chicks with a chainsaw."Pieces" is a highly entertaining gore trash filled with enough blood to satisfy horror fans.There is for example a lopped off arm,a severed flying head and a knife through the mouth murder scene.The ending is incredibly surprising and hysterical.There is also a violent kung fu teacher and death by mirror.So if you're a slasher/giallo fan give this one a look-you won't be disappointed.

How could I not love this movie? It is a rare cinematic occurrence indeed to find such delightfully sleazy ingredients as chainsaw massacres, disco aerobics, on screen vomiting, pornographic jigsaw puzzles, a girl wetting her pants, and a guy salivating over a woman's feet all in one place. Only from the combined minds of Joe D'Amato, Dick Randall, and J. Piquer Simon could such a thing spring forth ? and judging from the number of reviews here, I'm not alone in my fondness for this movie.

Many of the cast members will be familiar to fans of these kinds of movies. Christopher George (having already been through Graduation Day and a trip to the Mortuary) is a strong lead as the no-nonsense detective on the case, while Jess Franco veteran Jack Taylor creeps around the increasingly decimated campus as an anatomy professor. Of course the victims are just anonymous dead meat, but then that's all they need to be.

Say what you will about the overall quality of the film, but one thing's for sure - Pieces doesn't suffer from a lack of blood and guts. The crimson stuff flows freely once the chainsaw starts up, and the movie actually lives up to the surprisingly honest tagline - `it's exactly what you think it is' - take it or leave it. And the ending - what an ending!

Billy Whitney is a troubled kid who's seeing a shrink because of his fear of loved ones and those that are close, which he has a hard time fitting in with his wealthy family as he feels he doesn't belong with them. He's also a student at Beverly Hills Academy who's running for president and is dating the head cheerleader, so things aren't all bad. Although things suddenly change for the worse when Billy's Sister's ex-boyfriend convinces him there's something strange about his family. Now Billy gets pulled into a very frightening world that's filled with surreal images and where the paranoia is finally tearing him apart. But what's to come for Billy will be more shocking than what he can comprehend.

After watching a horror-mystery the day before I decided to put my teeth into another, Yuzna's 'Society'. You'll think that Society comes across as usual pure 80's trash in the very cheesy kind. And it does look like that and actually descends into that pattern. But firstly the way it started off you might think otherwise, as it does open proceedings rather eerily with an tight prologue and then a haunting tune through the opening credits, but soon it takes a real sharp turn from its beginning and heads into familiar 80's horror territory, with the usual corny dialogue, gratuitous nudity, camp performances and over-the-top humour. Although when it comes to the final 20 minutes or so, you totally are blown off your feet and possibly are in a state of bemusement. During this stage it turns disturbing and rather disgusting, while there's classical music streaming along. I know that I was left with a bewildered impression on my face and I would be surprised if you don't get the same feeling too. Meaning it's a good idea to make sure your not eating when coming up towards the film's perverted climax.

The odd but fun story does play out like a teen flick with nice amount of mystery and yep I say it, satire. This story has more to it and that shows in the hidden agendas and subtle dialog that all seems to come together perfectly. On a second viewing you would easily pick up on these hints within the script. You got your sick in-jokes, lame pun and plain wicked tone. Back onto the satire now, which this story is an allegory on the rich looking down on the less privilege and finally screwing over the poor. These amusing pot-attacks are scattered across the story, while also worked into the mystery side of the story with Billy trying to figure what's going on and what's this 'society' is. Some moments you see have you contemplating if what he sees is a figment of his imagination. The reason why you question this is because his seeing a shrink so is it just in his head or is this nightmare for real. This is presented in a very good manner and that's because of the man behind the camera.

Brian Yuzna who produced the great 'Re-animator (1985)' makes his directorial debut here and does an extraordinary job. No real atmosphere is generated, but he paces it with such elasticity that there's no labouring about and he ups the suspense with assured handling and control. The humour and horror balance is a bit uneven, at times it felt oddly out of place, but it doesn't destroy the fun mood. Camera placement is rather sharp and well executed, with a nice eye for shots and moods. Going with it all is a likable heroine played by Billy Warlock from 'Bay watch' fame. While, the rest of the acting is nothing out of the norm for a film like this. Everyone was effective in their parts and contributed to the enjoyment that followed. The production is incredibly slick and that's evident by the locations and Screaming Mad George's mind-blowing special effects. Those messed up effects that come out of the blue are what makes this film memorable in its inevitable outcome!

There's nothing really creepy about this real jokey 80's horror flick, but when it gets to the ending credits you'll be left with one real lasting impression? I assure you!

Nothing so appalling in the annals of horror!

You'll recail and shudder as you witness the slaughter and mutilation of nubile youngs girls in a bizarre and horrendous Ancient Rite!

When Mrs. Fremont hires crackpot Egyptian cultist Fuad Ramses to cater a party for her daughter, Suzette, she commits the culinary catastrophe of the centhury! Fuad immediately prepares a BLOOD FEAST made with the grisly body parts of nubile young womeng. Borrowing the leg of a gal taking a bath, the brains of women making out on the ebach, and the tongue of a sexy blonde, Fuad and his machete plan an adding Suzette to the main course...

The world's first (and most notarious) "gore" film, BLOOD FEAST is both shocking and hilarious. It's also the first of the infamous "blood trilogy" from director Herschell Gordon Lewis (The Wizard of Gore) and producer David F. Friedman (She Freak) who followed his perverse classick with the equally twisted Two Thousand Maniacs! and Colour Me Blood Red.

Starring William Kerwin ("Thomas Wood"), Connie Mason ("You Saw Her in Playboy!"), and Scott Hall, who couldn't remember his lines so reads them off the palm of his hand!

This is the splatter anticlassic all us sickos know and love. The non-plot is, well, pretty simple and it's only an excuse to cut loose with loads of very extreme gore and sadism. Fuad Ramses (Mal Arnold), an Egyptian maniac of pagan bloodlust, must serve up a "blood feast" to Ishtar, his horrible goddess of gory days gone by. Y'know, back when chicks used to get their hearts yanked out on altars IN BLOOD COLOUR! How does he get the morsels for his feast? It's an easy guess! Tongues pulled out. Limbs cut off. Brains hacked out in a blood-splattered mess. It's the grand-daddy of all the sickest stuff you've ever seen, and even though it's pretty stupid and bad, it sure is fun! It's even funny on purpose (as well as the other way around). For those of you who dig this unsavory and depraved type of junk the way I do, find this bad mother as soon as possible and surrender to the forbidden pleasures of the first splatter-comedy ever! (I think...)

A breath of fresh air in these formula times. While everyone else cashes in on old titles, brands and superheros, the film is surprisingly unique. Totally new age and ultra hip, it makes u feel you hang somewhere between the future and the past. A totally non-earthy feel, yet human storyline and characters makes for a strangely 'happy' movie.The is story is marvelously set by the comic strips in the introduction, on to which the whole family/love drama is pasted on. The musics great, especially 'Zydrate Anatomy' and throughout the movie the story and dialoges are brilliantly delivered in songs, and even if your are not a fan of musicals, this will make you want more. BRILLIANT!!, although the ending could have been more ... dramatic

Saw VI

Expected: 23 October

One of the very best horror films for a long time, Saw VI really delivers on all fronts. It serves up victims we want to see punished, more history to Jigsaw, more intrigue as Hoffman runs the risk of being found out, and best of all (and I don't apologise for saying this), some fantastic visual horror. The opening sequence had me turning away from the cinema screen, its an achievement that the sixth instalment still has the ability to shock. Midway through, there is a torture carousel scene, which had me glued to the screen, its one of the most effective sequences in the entire series. When the film switched from gore to backstory, it held my attention as more and more pieces of the jigsaw (pun fully intended!) are put into place. Critics will moan that the continued inclusion of Tobin Bell's character is a sign of desperation, but the makers go to great lengths, for the fans, to ground it into the story and I found it compelling.

Roll on many more sequels, if they can match this standard.

Look out for: A surprised twist.

In what is only the fifth film of the Saw series released over its five year Halloween run at the box office, this latest installation suffers from the same detrimental qualities that made number four slightly disappointing for fans and casual audiences alike. Making his directorial debut here, all eyes are cast upon David Hackl to see if he can either bring something new, or at least keep the momentum going for the popular franchise. The good news for some is that Saw V feels natural and consistent to its recent predecessors helmed by Bousman, yet for many others this won't be something to get excited about. Insofar as the movie itself goes; this is mostly typical Saw material throughout, going through the motions almost. This of course will please those looking for a continuation of the previous instalments, but it will undoubtedly feel too stagnant and jaded to interest anyone else. Nevertheless, for his first feature film at the reins, Hackl proves he can live up to Bousman's style that has been engrained in the series thus far, creating yet another engaging and loyal sequel that will be sure to cater to those craving more twisted games.

For many fans and casual watchers of the series, Saw figuratively died when lead character and focus for the film Jigsaw (Tobin Bell) eventually succumbed to his cancer in film number three. Yet just as instalment IV managed to incorporate the mastermind into its story, as does V in the same manner; through flashbacks. Playing a game of two sides and narratives that eventually collide, Saw V first and foremost continues on where we left from IV, detailing the continuation of Jigsaw's work through forensics expert Hoffman and how he eventually has to tie up all loose ends regarding the deaths of those in III and IV. This narrative, although a little tiresome in its approach of filling in every detail and hole in previous features, nevertheless provides as the real meat of the script. Characters are again rather shallow, and motives are less than clear, yet much of this goes out the window when Mr. Bell graces the screen with his presence. As he has proved time and time again, it is within the character of Jigsaw that Saw's real heart lays, and with plenty of reminiscing going on here in regards to numbers I-IV, there's enough material and characterisation work here to satisfy hardcore fans of the series.

On the other side of the pitch however is a much less character/dialogue driven narrative which focuses solely on another unlucky five as they work their way through the latest of Jigsaws traps, this time set up by successor Hoffman. For those who attend screenings of the latest Saw movies only to watch people get their comeuppance through a series of bloody and grisly tests, then this will be where your thirst is quenched. Taking on a tone that is strikingly similar to instalment two, the challenges presented here are graphic and extremely cerebral, shot in the same berserk ways so far explored in the series (although, the blending scene segment style incorporated in IV is gone) which add to the movie's intense ability to draw you in.

A consistently forceful element of the series, cinematographer David A. Armstrong here follows the movie's mantra of "don't fix what isn't broke", and the film's sense of coherency and embodiment of the script's themes works just as well here as it did in previous features. Sure enough, Saw wouldn't be Saw without its morally challenging undercurrent squirming underneath all the corpses and violence, and in this regard V does well to incorporate the same subtext. Of course as has been the case with all the sequels thus far, the message isn't quite as clear here as it was in the original, and the ideas always seem to be justifying the gore rather than the other -more appropriate- way around, but there's enough here to stop the whole ordeal boiling down to a silly slasher flick with no fibre to it at all.

Needless to say there are many audiences out there who outwardly oppose everything the Saw series stands for, be it involving the gore, the message, or just the tacky horror-movie-sequel feel in general. Yet as I have been witness to many the genre has to offer so far this year I can safely say that while Saw V is by no means a masterpiece nor as significant as its first production, it still beats out most of the competition by quite some distance.

In the end, the entire ordeal feels more like an add-on; a tid-bit of flavour designed to tie up the loose ends left dangling from all the other features, and in this respect V will feel a little underwhelming; even to rabid fans of the series. And yet, it's the fans that will make up most of Saw V's audience. I recommend V, but only to fans, and only because there's hope that VI (which the door is left wide open to here) might get the ball rolling again and begin to tell a new story. So by all means, if you can appreciate the series' unmatched ability to make you squirm, to have you question your moral code, and to fascinate you with its lurid, engrossing world made of cogs, puzzle pieces and of course, saws, then you can't go wrong here. Saw V is everything that fans of the series as a whole will want, but a lack of progression in narrative and its disregard for relevancy to anyone outside of its core audience inevitably cuts it short; not enough for anyone else, but fans should enjoy it for the most part.

When I went to go see Saw 3 at cinemas, I went with my exboyfriend. My exboyfriend having already seen it wouldn't tell me what happened. But i have to say i'm glad he didn't! I was amazed and grossed out during the whole movie. It certainly is A lot gorier than the previous 2 but well worth a watch. I would certainly recommend it to gore fans.

The story was well planned out and kicked straight off after the previous saw. The plot was detailed and you didn't know what was going to come next! the characters were well played and the acting was brilliant. Amanda's character has definitely developed from the last film and this definitely stands out. A personal best. Well done LionsGate!

Oh yes, there will be blood.

Jigsaw is back and this time he has 8 people locked in a house full of traps and only a few hours to live and it's up to Detective Matthews to save them as one of the unlucky 8 people is his son.

I absoultey loved the first Saw it was brilliant and very original and I'll be the first to admit that when I heard that a sequel was being prepped to be released only one year after the original I thought that it was gonna be bad but gladly I was wrong. SAW II was a relentless, enthusiastically directed and twisted little gem. Just like any other good film, this continuation had a powerful weapon in its holster, one that Hollywood so often forgets to bring to the table when creating their "products" and that's a strong screenplay. The bases were mostly covered in that department with riveting chain of events, a clever puzzle like nature when it came to its mind toying mystery, some heart (the Mason ordeal) and a near flawless juggling act in terms of the two main plot lines which were steamrolled forward simultaneously. To make matters much better. Now being that this is a sequel, some of what made the original special was lost in the name of not fully repeating the first film while new goodies were gained. I particularly grooved to the "Hannibal Lecter/Clarice" like mental warfare Jigsaw and Mason shared. It made for a compelling listen/watch, was the soul of the film while acting as an interesting contrast to the more action oriented "in the house" shenanigans. The further exploration of my fav Bath Robe wearing killer's psyche jazzed me as well! Although I craved more info (I still don't know why Jigsaw is so freaking nuts!), the added insight was appreciated and went to prove me wrong. Knowing more about the lad didn't make him less scary. I think I fear him more now! Donnie Wahlberg (Det. Mason) played it smart; he underplayed it while displaying an endearing mix of toughness and vulnerability. Tobin Bell (Jigsaw) was very much focused and controlled as Jigsaw Dina Meyer (Kerry) did what she had to do adequately most of the time, although I didn't buy a couple of her "reaction shots" and wished she'd do more than stare at PC screens. Shawnee Smith (Amanda) was bang on in her role; selling it to the max. I'm so happy they brought her back and gave her more to do.

I am a big fan of the horror/gore genre and the murder/mystery genre. This movie is a good combination of both genres. A lot of people are saying that it is a seven wannabe and so on. While watching this movie I did not think of Seven. To me this movie stood out on it's own. I thought the cinematography was really cool in this movie. The suspense was gripping and jaw dropping in some scenes. I do agree with some of the other reviewers that the acting was somewhat cheezy and bad but come on now. Most acting in horror movies is cheesy and over the top. I don't think that acting in this movie was as bad as acting you would find in a B horror movie. This movie was unapologetic and in your face. It seemed like while you were watching it, it didn't care if you thought it was over the top and didn't want to monitor itself. That's what I loved about it. The ending surprised me. Interesting movie throughout and is worth the ticket price. If you liked this movie rent or buy Cube. If you liked Cube go see this movie. If you have a weak stomach and you are not into serial killer movies this isn't the movie for you.

I've been reading the reviews for this film and have found myself sighing continually. Why? Because too many people take films like this far too literally. Like the reviewer who questions the characters decision to go back to the church. Hello, this is a horror film and if they weren't stupid we wouldn't have a movie. What were you expecting? Kubrick? Jeepers Creepers does exactly what it says on the tin. It's creepy, it's silly, and, if you can get over yourselves for a minute, lots of fun. Leave your brain at the door and have fun.

Just shy of maximum score because so much of it was so dark. Having said that I'm not sure I really wanted to see even more than I did of what was going on in this gruesome, gory French horror. A real achievement, particularly as a first film, this pulls no punches whatsoever and surely sends a clear signal to US film makers who seek to produce such fare. Don't mess about - just do it. But isn't this just the most harrowing and bloody, violent film ever? Well, maybe not ever, but that remains believable and involving from beginning to end. Where you want to look away but the action is so compelling you cannot. When you hope maybe there will be a pause in the nastiness but the makers just crank up the awfulness again and again. I have never seen a female attacker be so violent or so relentless outside of Japanese cinema. A remarkable achievement.

If you are like me and are completly sick to death of the teen/college slasher horrors that hollywood seem to produce by the week then Dog Soldiers is then film for you. this film has everything for the true horror fan, a great story , good acting , lots of blood , tons of action and most importantly it's bloody scary. The film is about a group of soldiers on routine patrol in Scotland come across what seems to be a group of man eating beasts that turn out to be warewolf's and do their best to fight of the constant attack by the flesh eating beasts. What i like about the movie that while it has a good blend of horror and action it is also very amusing in parts to and unlike most hollywood horrors it it funny when the director means it to be! A classy way above average horror that you cant fail to enjoy.

Flixster - Share Movies