Something weird

Something Weird is aptly named. The story is unusual and a strange vibe is present throughout; either that or the psychedelic soundtrack. Don't expect top notch acting, but the main characters are good enough. I can't get the image of the hag's cackling laugh and her tongue sticking out. Poor Mitchell, this guy was so desperate to get his wish granted, but it shows how bitter Mitchell was with his condition. Ah, and the LSD scene was the high point for me. In that state, you would find a phone conversation as easy to handle with as quantum space mechanics.

However, I watched this and did want to see how it turned out. The ending seems abrupt and out of the blue, but it's a weird, kooky romp. Where else can you see a blanket attack?

"I may be a bitch, but I'll never be a butch! "

David F. Friedman, the producer king of 60s sexploitation sinema, is best-known for SHE-FREAK (a 60s remake of FREAKS) and this movie. I much prefer this one. It's interesting, well-made and doesn't disappoint.

Sharon Winters (Stacey Walker) is a virgin secretary who loves to tease men and entice them to bed with her. When they get close enough to having sex, she accuses them of rape and ruins their lives! In her spare time, she teases her lesbian roommate and when they finally almost get down 'n' dirty, Sharon throws her out! But Sharon meets her match in a nightclub singer who likes to rough up women.

The plot is simple and quick. How can it stretch into an 75-minute movie? There's lots of scenes of bathing, changing clothes, and elongated foreplay scenes that lead to coy nudity, but never sex. Stacey Walker is a fantastic actress who carries the movie on her own. She's pure bitchery and is quite sexy. It's just her hair that bothers me... She made only one other movie for Friedman (NOTORIOUS DAUGHTER OF FANNY HILL), then returned home to her state of Texas and went back to high school (she had dropped out to make movies). No one knows where she is today, but she is sorely missed. Look quick for David F. Friedman playing the juror in the opening courtroom scenes. The musical score by el petra is great, basic garage band rock and roll that is complex in its simplicity. It certainly gives the film atmosphere and a soundtrack CD would be appreciated. Director Byron Mabe (who also directed SHE-FREAK) does a superb job handling the black-and-white cinematography and his editing during the foreplay scenes is wonderfully done.

A SMELL OF HONEY is the best introduction to 60s sexploitation sinema for anyone interested. Everyone should see at least one example of this type of movie to (if anything) compare to the pornography we have now. Something Weird Video is the only source for this on video and their print is rather scratchy and jumps at times.

Many of the really great movies in history seem to have a phantom director (CHARLIE THE LONESOME COUGAR, THE OUTER LIMITS' "Controlled Experiment" episode, etc). This here anonymous gem is an anarchist, unhinged, rip-roaring home-grown wonderment which belies its rot-gut origins by creating an entirely integral, albeit seedy universe, full of real atmosphere, scorching intensity, and insane yet somehow coherent characters, all within a totally shaky framework.

It's like "Idiot Noir," with its spooky, under-exposed fotog and creepy low-rent locales. It looks largely unlike any other exploitation film in history, no mean feat in itself. The plot and style are utterly innocent, incredible, depraved, the product of a very focused yet disturbed mind who wished to remain nameless, thus immortal.

The depiction of the "She Mob" as omniscient, insatiable sexual carnivores was stunningly radical for the mid 60s. Some scenes are virtually hard-core at times, yet at other times soft as a kitten. The complete lack of poise and continuity makes this a cross between Warhol and alcoholic home movies.

Marni Castle is the one of the sexiest/butchiest/ugliest bitches in screen history: her sheer gut-chomping, face-screwing arrogance could give a corpse a coronary. The other girls are strictly psycho-chicks from hell, laughable mutations of familiar 60s archetypes. (My favorite is Teeny, the Go-Go bolemic, who talks like a Japanese cartoon.)

There is a bizarre, yet welcome, fixation on breasts in this flick (and some of the ugliest, weirdest breasts ever caught on film too), and a subtextual fixation on the strange and perverse holders of said breasts, metal monster breastholders, wacky peekaboo nipple pushers, goofy tank tops with fringe, and skin-hugging silky straps.

Girl detective Sweety East, a stupid take-off on TV's Honey West, is a scary, retarded, buck-toothed piece of gutter-slime from the lowest brothel in perdition. I fell in love with her immediately!

Add to all of this a great car chase and an absurdly eclectic (some might say schizo) soundtrack, full of nuttily divergent music cues, and you have a heart-pumping, eye-popping case of screen euphoria.

The idyllic, prosaic epilogue, in which detective and victim make it together, takes place with a book of Shakespeare in the foreground, a precious clue from our invisible director to the audience, a subliminal symbol that confesses that he is aware of his great achievement, in effect saying, "We both know this is a masterpiece, so shut up and enjoy the ride!" A sick, twisted, retarded masterpiece all the way.

A series of murders haunts the local strip club scene. A newspaper decides to hire the legendary Abraham Gentry (Frank Kress) to track down the killer, since the police seem obviously inept at the task. Using his advance payment at local strip clubs and interviewing the dancers (with such names as Candy Cane), Gentry begins to compile a list of suspects, including an ex-Vietnam vet who loves to crush produce. But, who is the killer? "The Gore Gore Girls" is Herschell Gordon Lewis' best film. While not his "masterpiece" and not a film he will go down in history for, this one (his last film until "Blood Feast 2" thirty years later) really pushes the exploitation genre to a peak. Crushed brains, eyeballs pulled out, lots of stripping and the enjoyable Frank Kress. Say what you will about Montag the Magnificent or Mayor Buckman or Fuad Ramses (all great Lewis characters). Abraham Gentry is just so suave and cocky, he could have appeared in sequel after sequel and I'd devour them like flamingos with shrimp. But, shockingly, this was Frank Kress' first and last film. Where did he come from? Where did he go? Was he not interested in working after Lewis retired? We are all losers for his absence.

What has made this film controversial for many people is not, believe it or not, the excessive gore, but a perceived misogyny inherent in the movie. Quite honestly, I didn't see it. Sure, Gentry is not particularly kind to women. And yes, the film flatly exploits women (taking place in a strip club, for the most part). But it also has a women's liberation movement subplot (shown in what I would call a neutral light), and there's really nothing here that can't be seen in any other horror or exploitation film. Nude women in the late 1960s and early 70s? And you're shocked by this? Less controversial, but far more memorable, is the gore. While perhaps not memorable to many people in the mainstream, one scene here will stand out for those familiar with the work of Herschell Gordon Lewis. Lewis had previously offered grisly torture in "The Wizard of Gore" and some great death traps in "Two Thousand Maniacs!" (the barrel roll, anyone?). But in "The Gore Gore Girls" he pushes the splatter to eleven on the blood and guts scale. Which scene am I referencing? The french-fried face? The iron? The scissors on the milk-squirting nipples? No. In one scene, a stripper is actually murdered by having her buttocks tenderized into hamburger with a mallet. No stabbing, no bone-crushing, no poison. Just excessive paddling. And for good measure, be sure to recall that the killer added a little bit of seasoning to the carnal creation.

Add all this to the fact the film co-stars Lewis' most charming and attractive actress yet (Amy Farrell as reporter Nancy Weston) and we have a winner of a film. By far my favorite Lewis film, which is saying a lot as he's quickly become one of my favorite directors. Thank you Something Weird Video for providing us with such great cult films. And a special thank you to Andrew Borntreger, for pointing out to me that the bottle of acid in the film is "made in Poland"... I'm not really sure what to make of that, but it seems all too proper in a flick like this.

This is the "Queen of Exploitation", Doris Wishman's hilariously inept follow-up to her previous collaboration with the obscenely endowed Chesty Morgan ("Deadly Weapons"). Yes, she of the 73-inch breasts returns to the silver screen in this astonishingly cheap pseudo-sequel which is even more outrageous than it's predecessor. Here Chesty plays super agent Jane Tenay who is tailing a string of heroin pushers. A camera is planted in her bosom and she is instructed to photograph everyone that she eliminates, which she accomplishes by squeezing her mammoth mammories! Chock full of the typical Doris Wishman "trademarks" (close-ups of inanimate objects such as an ashtray, feet, or usually Chesty's massive cleavage) this flick was sampled in the John Waters comedy classic "Serial Mom"...it must be seen to be believed!

This movie is a must for what some of us call "le bad" cinema. The idea is great, a woman with unbelievably huge breasts goes on a killing spree to avenge her husbands death. Of course the acting is awful, the writing leaves a lot to be desired, and the plot is over-done, but how often do you get to see a man smothered to death with enormous breasts?

I was disappointed by this film. The idea of an Argentinian horror flick was an engaging one- bound to be something different I thought. The main plotline is suitably absurd (mad brain in a jar etc), but the whole exercise is ruined by the softcore inserts which periodically appear.

As such it is neither fish nor foul. The original film contains little nudity and is a standard B&W mad scientist effort. The softcore inserts have their attractions- but jar and should be in a different film altogether. As such I was just left baffled and confused.

Basically the film doesnt work, but is an admirable novelity piece. At least "Something Weird" video do things differently

Contains story + **spoilers**

Lisa lives together with her paralyzed grandpa on a remoted farm in North Carolina. Some day three criminals on the run take them as their hostages. As one of the outlaws tries to rape Lisa, the young girls takes bitter revenge...

This film can be watched as a mixture between "Last House on the Left" and "Desperate Hours". On principle, "Lisa, Lisa" is a movie that nobody needs: The gore keeps within limits and by a total running time of 70 minutes there´s not enough space to construct a far-reaching story or to develop the characters, although the whole plot would be much better if director and actor Frederick Friedel had done this! Probably one of those films to make a maximum profit with a minimum stake...

Personally, however, I found "California Axe Massacre" (neither it happens in California, nor is there an axe massacre...) suspense-packed from beginning till the end, the atmosphere is sinister and the finale quite macabre. That makes "Lisa, Lisa" being an almost forgotten cult classic - short but effective! Like a dirty joke...

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...)

Is it magic? Or wholesale slaughter?

See the woman cut in half with a chainsaw, see the woman drilled through the stomach with a giant punch press, see the metal spike driven through one gal's head and see the two ladies forced to swallow swords.



Blood, guts, and offbeat surrealism in another crackpot classick from "The Wizard of Gore" himself, director Herschell Gordon Lewis.

This movie has been on my Netflix queue for quite a while so I can safely say that I've wanted to see it since before Juno was out. This is the fourth Herschell Gordon Lewis film I've seen so far and only the second I've liked, the other was Two Thousand Maniacs. This, much like Two Thousand Maniacs, is a good movie. Not because it actually has substance and is well thought out, but because it is a lot of fun to watch and has become a cult classic.

Let's be honest for a minute here, when Herschell Gordon Lewis was directing films, he had no idea what he was doing. As a friend of mine said "he is the Ed Wood of gore films." I have to agree completely. The editing is always choppy and horrible, the music is poorly placed, the acting seems to be straight out of a junior high play, and nothing seems believable. This brings me to the gore. If HGL only got one thing right in his career, it was gore. The gore in this film is awesome and cheesy. He may have made bad films, but they sure are entertaining.

Sorry for going off on so many tangents, I'll get back to this movie. The story follows a TV reporter and her boyfriend who attend a magician's show of blood and dismemberment. They become suspicious of several deaths being linked to the show. It's a simple story but it is a lot of fun. I really like the magician theme. The bad acting factor definitely applies in this movie. I often wonder where HGL found these people. But as always, the gore is magnificent(no pun intended) and almost saves the movie. I had a lot fun with it.

See this movie if you're a fan of Herschell Gordon Lewis and you won't find much of anything new but it is a very good time. Go! Now!

Colour Me Blood Red is pretty much the typical Herschell Gordon Lewis film. In Blood Feast, a man killed people to create a feast; in The Wizard of Gore, a man killed people for his magic show; in The Gruesome Twosome, a young retard killed people to make wigs out of their scalps; and here we've got a deranged painter who discovers that blood is exactly the right shade of red to colour his paintings with. This film is the third and final entry in Herschell Gordon Lewis' "Blood Trilogy", and while it is perhaps not as gory as the other two; Blood Feast and Two Thousand Maniacs, if you enjoy Lewis' style, you're bound to like this one! As mentioned, the plot revolves around a painter. He discovers that blood is the paint he needs when he cuts his girlfriend's finger and begins smearing her blood on his canvas. After attempting to 'paint' the picture himself, he soon realises that he doesn't have enough blood - so naturally, he kills his girlfriend. As you might expect, her blood doesn't go too far, and the only way to get more blood is the to kill more women...

Obviously, this plot has been lifted straight from Roger Corman's B-movie classic 'A Bucket of Blood', but Herschell's style is all over it, and he succeeds in making the plot his own...although 'succeeds' might not be the right word. The movie is trash in every sense of the word, as the acting is as rubbish as it gets, and the film has a distinctly cheap and nasty feel running throughout it. The director's use of music is good, however, as while it does nothing to increase the film's credibility; it does give the movie a hilarious sense of humour, and it works really well with the plot. As I said, this isn't as gory as some of Herschell's earlier stuff, but it's still got plenty of blood and gore; although as anyone that has seen one of these movies before will know; it's absolutely impossible to take seriously. It's clear that Herschell was more interested in the red stuff than anything else, as there are a number of obvious plot devices on display and the artist's descent into insanity is a joke. But even so, this makes for a very fun viewing, and I wouldn't hesitate to name it as one of my favourite of Lewis' movies.

An entire town bathed in pulsing human blood! Madmen crazed for carnage! Brutal...evil..ghastly beyond belief!

The two thousand maniacs of a small town clebrate the 100th anniversary of the Civil War by forcing a handful of Notherners to serve as "guests" for a variety of macabre, blood-crazed fun and games.

The festivities include a screaming man placed in a rolling barrel lined with nails, a hit-the-bull's-eye carnival game with a pretty gal and a boulder, and a blonde sexpot whose arm is hacked off and barbecued! But before they can slaughter te only clever Yank (Thomas Wood), he and the lovely Terry Adams (Connie Mason, "Playboy's Favourite Playmate") try to escape...

Photographed, written & directed by Herschell Gordon Lewis who has become known as the 'Godfather of Gore' this was the second in his so-called Blood Trilogy following Blood Feast (1963) & followed by Color Me Blood Red (1965) & is a neat enough little exploitation gore film that has a reasonable story behind it. The script moves along at a nice enough pace, it's populated by over-the-top character's & gore although I think the twist ending goes on for too long & could have been edited down to be a bit punchier & dramatic. The basic story here is pretty good, it show's a bit of imagination especially during the set-piece gore scenes & I especially liked the barrel with nails hammered inside which is then rolled down a hill with someone inside, ouch! This is a surprisingly good effort on what was probably intended to be no more than a quick cheap gore film to capitalise on the huge success of Lewis' seminal Blood Feast which is widely regarded as the very first gore film ever made. I liked it.

Director Lewis has a decent imagination & is good at getting the most out of what must have been tiny budgets (apparently he did the voice over on the trailers for his films because he didn't want to pay anyone) but he really can't direct at all, his films look dull & are very poorly staged. Here for instance look at the reactions of the victims as they appear to be in mortal danger, none of them put up any sort of fight or struggle & almost seem willing to let their tormentors kill them, he just can't direct actor's & Two Thousand Maniacs! is a good case in point. There's some good gore here although tame by todays standards, someone has her thumb cut off & then her arm chopped off with an axe, someone is drawn & quarter having had his arms & legs tied to four separate horse, someone is rolled down a hill in a barrel full of nails which ends in very bloody results at the bottom & someone is squished with a huge boulder. The special effects aren't too bad either although the blood looks a bit bright.

With a supposed budget of about $65,000 only Two Thousand Maniacs! didn't turn out too bad but it's hardly any work of art & the sound is absolutely terrible. It's sometimes hard to understand what character's are saying as their voices 'echo' on location, there are constant pops & crackles in the soundtrack & the sound effect of those cars at the start sound nothing like cars at all, I have to admit I thought the opening theme was annoyingly catchy. The acting is truly terrible, I'm sorry but there's no other word to describe it.

Two Thousand Maniacs! is a neat enough exploitative gore film from the 60's with a slightly better story than you would perhaps expect, if that sounds like a film you might like then by all means check it out, if it doesn't then don't.

A marvelously perverse cult classick, TWO THOUSAND MANIACS! is also the second of the infamous "blood trilogy" (which includes Blood Feast and Colour Me Blood Red) from profucer David F. Friedman (Trader Hornee) and director Herschell Gordon Lewis (Blood Feast). Yeeeee-Ha! Oh, the South's gonna rise again!

A new Herschell Gordon Lewis film?!?!?!?! What wonderful times we live in!!!

First things first:I'm a huge fan of Herschell Gordon Lewis.He has a very sick sense of humour that just can't be beat.You can tell that he takes great joy in film making.It always looks like everyone is having a ball.You can nearly hear him yelling out in glee "More blood!" with a childlike gleam in his eyes. If this is your thing, you won't be let down by "Blood Feast 2". It's all I thought it would be and a lot more. Yes, the man's still got it...still doing things the drive-in way after all these years, lots of blood ,guts, and skin...oh, yea,and, it's funny as hell too. J.P. Delahoussaye is nearly as over the top as Mal Arnold was in the first one ,or Ray Sager in "The Wizard of Gore".The gore shots linger as Fuad almost affectionately fondles the goo.It's 100% pure Herschell Gordon Lewis directing at it's finest.

From the godfather of gore, Herschell Gordon Lewis, comes the most eagerly awaited sequel in the blood red history of splatter cinema! The cannibal careterer is back with a new recipe for gross-out, comedic carnage that literally blows chunks across the silver screen! From the groundbreaking production team of H.G. Lewis and David Friedman, the manical masterminds responsible for Blood Feast, Two Thousand Maniacs! and Color Me Blood Red, Blood Feast 2 is a gorehound's wet dream!

The Gruesome Twosome is a lot like any other Herschell Gordon Lewis film in that it features a ridiculous plot line, a plethora of useless performances, buckets of gore and some real nasty sequences. As usual, the director sets out his plot and it doesn't go anywhere from there. There aren't any twists in this film and what you see is very much what you get. While this simple formula is fun, it is rather monotonous also; and if you've seen a few other HG movies prior to seeing this one (as I had), it's safe to say that there isn't all that much here. The film kicks off with a suitably demented scene that sees two head models with wigs having a conversation with each other. From there, we learn that a wig maker's shop is getting its realistic hair straight from women's heads, as the old woman who runs the shop employs her retarded son to scalp the young women who comes looking to move into the abandoned apartment next door. The piece is made more ridiculous by the way that the old lady talks to Napoleon; who just happens to be a big stuffed cat!

I'm never really sure if HG Lewis movies are meant to be bad, or if the director is just grossly talentless. The acting is so bad that it's arguably not even acting; between speaking parts, some of the actors are visibly laughing - I don't know if the whole thing is meant to be a joke. The film only lasts for the seventy or so minutes, and so you'd expect that even a plot as basic as this one would be able to be stretched; but the Godfather of Gore obviously didn't know what to do with it, meaning that way over half of the film is made up of useless scenes that add nothing to the plot and serve only in making the whole piece more weird. HG movies have a sort of otherworldly feel about them stemming from the fact that they are so inept; nobody in real life acts like the people in HG movies do, and this movie adheres to that styling. The characters are non-existent and the way they react to the local murders is purely stupid. The murder scenes themselves are grisly as usual, but as is the case with everything else in this film; they're impossible to take seriously. Overall, this really is a terrible movie; but there's something about HG movies that make them better than most trash, and while I won't argue with bad words against this film; I did enjoy watching it.