Bonus List: The Most Violent Movies I've Seen

THE GORIEST COMMERCIAL FILM EVER MADE, and one of the funniest. IT ACTUALLY MADE ME LAUGH! Jackson's original style is present all the way through and its uniqueness and hilariousness make this over-the-top ultra-splatter-fest worth watching over and over and over and over and over and over and over again :D...

89/100

This film may not be as disturbing as the first part, but it definitely is the fuc#!ng goriest! A guy kidnaps a young girl and dismembers her piece by piece in deliciously explicit and bloody detail, each part been preceded by an artistic introductive speech. Violence tries to be artistic here somehow, highlighting the beauty of the human body. Even so, it is so twisted!

That's why I give this film a much higher score than the first film. It tries to please hardcore horror fans also, but I liked some aspects of it as well, considering that the entire Guinea Pig series have a very low budget. Only for hard stomachs and an opened mind.

35/100

The scariest film ever made, and one of the goriest. Raimi is able to show through his best film that someone has talent when he's able to prove it, even with a low budget. One of the best horror flicks ever made as well.

87/100

Guinea Pig---- yeah... Guinea Pig.

- Acting? No acting. Just screaming and laughing. No dialogue whatsoever.

- Plot? Oh, that's the good part. Some guys capture an innocent girl and torture her in several ways as a test for the maximum pain endurance in a human. Wow! Really good, huh?
- Direction? Writing? Cinematography? Are you serious?
- Message? What the hell are you talking about?!

This film is just for sick minds and hardcore horror fans (like me). I have decided to begin checking put this type of films (mainly released by Unearthed Films) and this is the WORST MOVIE I HAVE EVER SEEN. I never thought something could top The Passion of the Christ, but it did!

It really tries to be shocking, and it is. It seems like a real snuff film, and that was the intention. It is also one of the most violent films (shorts) out there, and the ending (eye-needle) scene takes the cake! Looked so cool, gruesome and realistic. Even so, there's no point in creating this little piece of sick crap but to satisfy sick minds (like mine :P).

If you have a weak stomach, avoid this like an Egyptian plague. If you're really into hardcore horror, this is a must-see.

5/100

Disturbing, horrifying, graphic, explicit, merciless, explosive, stylish, hilarious, great. Takashi Miike blows you away with his best and most entertaining film. I'm allowed to have guilty pleasures right? Oh, and if you keep rewinding endless times to the torture scenes, don't worry: You're not sick, it's because of Miike's brilliance.

93/100

Highly gory, mindless and twisted fun for the wicked. Hilarious and intense, but special in its own sense, despite it "borrowing" the Psycho theme.

77/100

A gory mess, everything is lost now. A mayhem, just as it should have been, although a little bit worse. It didn't convince me at all that the world was coming to an end.

56/100

Tarantino goes stylish and explosive, always faithful to his favorite Japanese cult movies. The least original film you will find, but it was so damn entertaining, wasn't it?

90/100

Worst movie I've seen until this day. This a completely unecessary and perverted "film", an insult to my religion and moral values and the film that has hurted my soul and heart and affected my life the most, and I didn't deserve that. REALLY.

20/100

Enter the Dragon (1973) and Lock Up (1989) meet Braindead (1992)! What do you get? One of the goriest, hilarious, violent, unrealistic and outrageous films ever made, obviously. Lik Wong brings pure gory entertainment that any martial arts fan and horror fan should see. I loved this one.

74/100

On a personal note, it's interesting how many 4 1/2-star and 5-star ratings this gorefest has received. It doesn't differ much from the Hollywood formula, but the effective tension it builds and the respectable, classic references to Italian giallos are worth noticing. As shocking and mentally disturbing as it was originally intended, the unrated version will make your guts bleed. A modern, decent French horror and the second best out of the whole bunch that has come out this decade.

61/100

Hideshi Hino strikes back with a gruesome, twisted and NASTY Guinea Pig sequel, featuring a painter that finds a mermaid in a sewer and takes her to his home for making a painting (what the F#CK is a mermaid doing in a sewer!).

Anyway, the mermaid starts to rot in the most gory and disturbing way possible...

BEGINNING OF POSSIBLE SPOILERS

...from cutting herself spilling blood of seven different colors, to expelling worms from body and throwing them up, just to be sadistically dismembered by the painter once the painting is finished.

ENDING OF POSSIBLE SPOILERS

Recommended only to hardcore horror fans.

29/100

Mixed feelings went through my mind when I first finished watching this influential anime... influential in the sense of promoting extreme hentai perversion and tentacled-demons rape scenes. The animation is pretty much mindblowing and the intentionally dark subject matter offers a decent plot. Accompain these elements with an awful soundtrack that seems taken out from bad SNES videogames and amusingly forced excuses for showing several tentacled sex scenes throughout. The result is a film to be worshipped only by gore, anime and/or hentai fans. I appreciate the film's technicallity and the story has an appropriate dose of originality, but overall, Legend of the Overfiend is a bad film that pushed the limits of the animation genre back in the 80's, especially after witnessing 147 minutes of pure gory and sexual glory through the 3 uncut OVA's, credits included, hehe...

50/100

Perhaps the worst of the series, and even so that's not a bad thing. ROmero hasn't lost his talent to bring state-of-the-art zombie top gore to the screen, neither an apocalyptic and desperate atmosphere. That's why he's the classic good of zombie films.

53/100

Review coming someday...

98/100

It will make you cry your eyes off, and move you in a way you can't imagine. Superior to Saving Private Ryan in any aspect. A spectacular South Korean modern masterpiece of the Korean war worth being checked out by every eye on the planet; simply amazing and moving.

86/100

Gallons of gore and guts pleased my eyes in this somewhat mediocre but stylish FDTD sequel faithful to Tarantino's and Rodruiguez's style. Yeah... It was my favorite of the trilogy once; very underrated.

53/100

The original is so cool, scary and gory. Great vampire splatter! Tarantino's presence adds to much power and coolness to the film. Two thumbs up.

70/100

Extremelly violent and merciless, and yet a masterful project created by Riddley Scott. Finally an accurate war film...

75/100

And Spielberg again... Extremely patriotic and American, but still unforgettable, powerful, universal, and great.

85/100

Wiiiiiiiii :). Blood :) Hell they do fight!

50/100

Faces of death is lame and nasty, real and fake, controversial and dated, deep and shallow. Faces of Death is a mixed bag of qualities and defects, and ends up being a tremendoulsy bad and varied documentary that treats death in several ways.

50% of the footage is real, whereas the other 50% has been proven staged and fake. This film goes from Mexico (Las Momias de Guanajuato) to Africa, from the Amazon to Southeast Asia, from hospitals, prisons and morgues to slaughterhouses.

John Alan Schwartz (aka Conan Le Cilaire as a director, aka Alan Black as a writer [WTF?!]) directs a half fake, controversial and undeniably graphic and disturbing shockumentary that easily enters into the mondo genre.

Honestly, this documentary isn't worth your time unless you think that this documentary has a deeper meaning that it seems or if you only want something shocking or different. This is not among the worst films/documentaries I've ever seen, but it certainly is not good.

44/100

Alexandre Aja, thanks to his finest film up to date, shows that decent shocking and thrilling splatters can still be made. The twist, although typical, is cool and not totally expected. The gore goes to the extreme, but the characters (as typical in horror shockers of Aja) are well developed.



So cool and disturbing, but so cool.

56/100

The film is mad and has a very well excuse for the plot as a horror film. If you combine some elements of Hostel, The Texas Chainsaw Massacre and Haute Tension with a political touch (perhaps also some The Devil's Rejects), you get this crazy piece of gory, entertaining junk. You gotta love that saw scene...

56/100

Finally an awesome horror film, and a good remake. Very intense and gory, but at least it has character development and shocking moments.

55/100

Good remake, as explosive and gory as it should have been. Great zombie flick.

60/100

Again the acting sucks, but this one counts with a pretty good and (somewhat) original story. That's why this is Fulci's best film ever, and one of the most violent and gory horror films I know. Old school zombies and non-CGI gore. That's the best stuff there is :-) Two thumbs up. Thanks for this film Fulci ^_^

59/100

A jewel in Japanese cinema that you either love or hate. Beautifully shot and well-directed, this bloody film will blow you away! From the director of Versus...

71/100

Del Toro having fun? Probably... or he was just being lazy. He does everything in his power in order to surpass the original and, despite the fact that he almost achieved such goal, it is not a complete letdown. It shouldn't be considered among the best vampire films of the decade; to declare such statement equals blaspheme. You may blame it on the screenplay stealing the most famous line of The Godfather: Part II (1974) or in the cheesy CGI, but a great opening and a cool final duel compensate its flaws. You must learn how to switch off your mind sometimes.

52/100

It is, indeed, a modification of the nature of the Marvel comic adaptations that would be popularized during the first five years of the new millennium, but it is mindblowing, kickass vampire action. Although the film missed the mark because of its action-oriented nature when it should have really been a darker one, Wesley Snipes, one of the worst actors alive, surprisingly enough gave the character a unique style. Of course it is exaggerate, but as a horror fan I must say this ride was insane. It shows off when establishing and breaking vampire rules for sure, but we may buy that for a couple of hours, right? It missed the mark at adapting the character

53/100

Cannibal Holocaust, although it is bad in certain aspects, such as acting and writing, is better than I thought it would be. It really treats a very delicate topic, which would be the darkest side of humans in all aspects, from morality to perversion.





The film is undeniably shocking, counts with real human and animal executions (The "Last Road to Hell" sequence is totally shocking if you get to see it totally uncut), and few extreme sequences of violence and torture (some of them unusual).





I didn't like it for that, but for its technical achievement concerning its shock value mixed masterfully with a strong social commentary. Worth watching horror experience, and a must-see for fans.

60/100

Rodriguez at his coolest and most violent and badass. The greatest pure-action film ever made with an almost unreachable good style. One of the greatest comic adaptation ever put to film as well, despite being a huge guilty pleasure.

90/100

Running f#ck!n Scared is a f#ck!n totally kick-ass action packed f#ck!n film, full of f#ck!n suspense and a f#ck!n stylish and f#ck!n dark direction. The f#ck!n acting of Paul Walker is f#ck!n sweet and didn't f#ck!n dissappointed me like I was f#ck!n expecting.

A very f#ck!n nice tribute to Brain de Palma, Sam Peckinpah and Walter Hill. Running f#ck!n Scared will blow your f#ck!n mind away with f#ck!n stylish and f#ck!n smart shocking violence, f#ck!n thrilling moments and f#ck!n educational language. I f#ck!n love this film!

F#ck!n 59/100

P.D. Did you know that the word "f#ck" and its derivates is used 328 times? F#ck!!

Review coming someday...

98/100

This film is so damn aggressive and hilarious. Tons of gore can be found throughout the film, as well as some crude and sexual humor. It is craps like these that make my day happy and let me rest from watching so many classic and foreign cinema. This rocks!

48/100

THIS FILM IS THE DEFINITION OF AWESOME! I was totally blown away by its action, violence, unique fight scenes and the always present "cool factor". Ryuhei Kitamura (Azumi [2003]) brings his truly first remarkably fun film that defined his great style of filmmaking. This made my week so happy :D

63/100

Fulci goes cool, violent, gory, scary and wild again. He really knows how to make SCARY HORROR films and this is just another fine example. It is not his best film (The Beyond [1981] and Zombi 2 (1979) are better zombie/horror films) but this will surely entertain and please hardcore Fulci and horror fans. A must for those people that occasionally are hungry for that stylish and classic Italian horror, with some mindless gore added. Loved the drill scene.

56/100

This film is so violent, so funny, so unrealistic, so gory, so typical for horror plots, so fuck!n stupid and makes no sense at all, that it rules! This is the most fair and appropriate homage to the Grindhouse films, also because of the intentional film damaging. It seems that Rodriguez can do anything he wants with films and still make me love him. I totally love the melting of Tarantino's rotten d!ck and balls parts. I fell in love with Cherry Darling... The film is such a mess that I ended up loving it. F#CK YEAH! This is the first time Rodriguez makes a better film than Tarantino, fact that for me is quite shocking, but surprising. The soundtrack also rules.

71/100

In the same tradition of Cannibal Holoaust (1981), Cannibal Ferox is as brutal and gory as films of this type and genre were back in the 80's (and still nowadays). Both films are practically the exact same thing (considering that Cannibal Holocaust came out first), but this one has worst acting, free real animal killings (trying to gain more shock value) and a predictable plot. Some violent and gory scenes and repeated throughout. This was a good effort, but fails since it was just worse. Period. It was just more of the same without the same amount of substance that previous films had.



50/100

I wrote in Hostel comment:

"Eli Roth, you better make people faint with the sequel."

Well, he didn't. I was even more disappointed than the last time. Eli Roth sucks and is a scared little bitch compared to Takashi Miike, who turned out to be his idol. This almost made me laugh! I mean, WTF? I almost laughed out loud when that guy's penis and testicles were cut off and fed to the dogs (which is a cool reference to Tinto Brass's Caligola, of 1979). LMAO at that! F#&k this film also!

41/100

Such a sissy Disney film, and a huge disappointment. I expected lots of smart intense horror and torture throughout, and I get a look-alike Euro porn film with torture moments so weak that I felt watching Bambi for a while. Eli Roth, you better make people faint with the sequel.

45/100

Following the lack of sanity French films have had during this decade, Laugier finally realizes the huge mistakes he did with Saint Ange and perfects his style with this psychologically brutal flick. Its premise is basically divided into two chapters, the second one having an oddly applied ambition... that worked! Martyrs is an interesting experiment and ultimately a challenging experience for cinematic masses.

75/100

Definitely the worst in the trilogy. The series finally has lost all of its magic at this point. The twist is very predictable and not so surprising, and the plot was very expected. The only aspect that makes up for all of this dissapointing characteristics are the great and crazy torture sequences and Jigsaw traps. Still entertaining though.

50/100

This is the spot where the Saw films lost even their entertainment value. Saw III was still watchable despite its mindless emphasis on fun gore, but this one has considerably deteriorated the initial awe Saw (2004) gave to American audiences. Ashaming. Just watch the first 7 beautiful minutes and then switch off.

44/100

OK, I've had enough. The fuck!n' guy is dead! How can people be so moronic and keep falling into Jigsaw's traps like dumb forest bears? Hackl, you had no business here. Go somewhere else. Lame as hell.

41/100

Definitely a bomb in the French cinema back in the 90's. Violent and badass.

52/100

Stupid, not funny, script sucks etc, etc,... but it's gory as hell. I wouldn't mind seeing another Adam Green film if he made one. He has some kind of talent. Worth watching only once... (NC-17 version)

44/100

Review coming someday...

99/100

"We Fascists are the only true anarchists, naturally, once we're masters of the state. In fact, the one true anarchy is that of power."

SALÒ O LE 120 GIORNATE DI SODOMA (1975)

Director: Pier Paolo Pasolini
Country: Italy / France
Genre: Drama / Horror / War
Length: 116 minutes



In the process of finding the correct first sentence to begin with a proper review of Pier Paolo Pasolini's last film Salò o le 120 Giornate di Sodoma, I failed miserably. In fact, I have already written it... it's somewhat hilarious. Words cannot and will not suffice for properly describing the artful subjectivity and political power of this extraordinary piece of art. Open-minded masses, supporter of all artistic expressions and, specifically, Pasolini fans cannot avoid the great personal amazement, pride and joy towards a director that never hesitated to express his anarchic, totalitarian and Marxist ideas through his religious and political manifestos, his daring and controversial magnum opuses, his visionary and influential masterworks. Salò o le 120 Giornate di Sodoma is definitely one of the most audacious films ever conceived by the hands, the mind and the guts of an auteur. On a personal note, I have always classified and identified the decade of the 70's as the most influential era, cinematically speaking, for expressing ideas in expressionistic ways. Directors like Dusan Makavejev (W.R. - Misterije Organizma [1971], Sweet Movie [1974]) and Nagisa Ôshima (Ai no Corrida [1976], Ai no Borei [1978]) sought for the most shocking and graphically scandalous ways to depict socially accepted ideas that the totalitarian control and the limited liberty of expression did not allow to be portrayed nor propagated. Salò o le 120 Giornate di Sodoma is arguably Pasolini's best film, the brave motion picture that caused him to be persecuted and presumably assassinated under mysterious circumstances.

The film is set in the Fascist, Nazi-controlled northern part of Italy during the Second World War where four libertines round up sixteen perfect specimens of youth and take them to a palace near Marzabotto to subject them to 120 beautiful days of all forms of physical, mental and sexual torture. It is loosely based on the stories of Dante and Marquis De Sade. After the four months have passed, the brutal execution of the youths is organized so that the fascist libertines can witness the spectacle from a voyeuristic point of view. It is officially one of the most controversial films of all time.

Pasolini's approach to the Fascism in Italy results in a "nauseating, depraved, pornographic, disturbing, senseless and mentally sick" film. It actually has been catalogued and classified under those retarded, immature and narrow-minded adjectives. It is a very natural psychological consequence that an audience that was not still prepared for such a graphic testament, not to mention a film depicting the horrors of war in the most explicit way, reacted with those arguments as their strongest defense. Soul injuries had not healed yet, and people still belonged to a particular political party. Most of its controversy rose from the fact that it was mostly considered as a political act rather than an important filmmaking sample of historical accuracy and political correctness. Was that an intentional and, therefore, correct film characteristic thanks to the ideals of Pasolini? Yes and no. The same thing happens with the films of directors like Makavejev and Ôshima. It is set on historical times depicting real events. However, the melodrama resulting from the magic of cinema may sometimes result in the dramatization and sometimes intentional tergiversation of events that, although they may reflect a particular period of the history of humanity, do not have a complete accuracy. It is a commonly used technique to enlighten and strengthen the ideas that a film wants to transmit. Salò o le 120 Giornate di Sodoma is not meant to be taken seriously, historically speaking, especially when Pasolini declared himself as an artist. He did not name himself as an historian or a religious filmmaker. He was an atheist, yet the inspirational effect of Il Vangelo Secondo Matteo (1964) disseminated through the masses counted with a poignant success.

Salò o le 120 Giornate di Sodoma contains one of the most explicit portrayals of sex, violence, psychological torture, mercilessly insulting racism and a wide range of paraphilias that include sexual masochism, sexual sadism, transvestic fetishism, urophilia and cropophilia within mainstream films. These physical and sexual perversions will eventually cause several reactions from a varied audience, but as film elements they ultimately function as a motor for the film's political and anarchic audacity. The film is basically divided into three parts: the Circle of Manias, the Circle of Shit and the Circle of Blood. The Circle of Manias consists in the submission of the youths to several forms of psychological abuse. The film is meant to mirror democratic societies and totalitarian governments that mentally construct a narrow-minded concept regarding the nation's control they suppose they own. They disguise their mediocrity and dictatorship-like habits with a seemingly organized governmental system. Licentiousness predetermines the catastrophic behavior of organized Fascism in the film, disguising their lack of sanity with formally planned events, such as the portrayals of social events with occasional, forcedly applied gender dysphoria and with the massive dinners accompanied by piano with Signora Maggi and other two middle-aged demented women telling arousing stories of their past. The concept of discipline is distorted; comedy is a decaying word; humor is no longer a clear dictionary word. The Circle of Shit gathers the victims in a feast of excrement consumption and rape. Once more, the possible symbolic context implied is how governments and democracies literally try to cover up their lies and the corruption caused talking shit and raping the trust and the democratic process through their rules and principles. This may sound like an offensive statement, but its honest substance behind it does not deviate from an utter truth. Finally, the Circle of Blood consists in the physical torture and execution of the already degraded souls, in case any consciousness and self-esteem remain. This is shown from a voyeuristic perspective, strengthening a horrifying and claustrophobic feeling to it, like if we were not capable of understanding the unbearable pain the victims are going through, consequently becoming a more disturbing and haunting sequence.

As any masterpiece clearly states, enjoyment, beauty and art are the most humanly subjective terms one should encounter throughout the process of deep analysis. This is one of the most beautiful films ever made. It is brilliantly filmed and visually beautiful, overshadowing with its grandiose cinematic gorgeousness the perverted brutality shown from the beginning of the film to its comical ending. The cinematography scratches the visual realm of perfection, like a mutant philosophy. The editing has a mysterious tone to it. You never know what will the next take will look like, yet it has no mercy at fading away with each shot; it immediately shows it, letting our eyes and mind (perhaps even the stomach) to react however it is supposed to react. The music has a mystical brilliance. It has the capacity of hypnotizing the viewer to an extent of confusing the emotions and distorting them. The images talk by themselves, and the beauty of the human body is so glorified that one feels in Paradise with Satan raping angels.

Salò o le 120 Giornate di Sodoma is one of the best films ever made. The original ambition it achieved to obtain has established a landmark, a landmark that has lasted for generations. Glorifying human dignity and letting it be raped, sexually abused, raped and depraved to an unbelievably glorious extent because of totalitarian governments that still form part of the actuality culture, the main purpose(s) of the film are immediately justified and even strengthened because of the persecution and assassination of Pasolini and because of the censorship the film inevitably has been subject to. More than a political act, it is a marvelous magnum opus way ahead of its time that even modern cinemas would surely refuse to release. A criticism very few authoritative and democratic countries will fully accept, Salò o le 120 Giornate di Sodoma belongs to arguably the most daring category of cinema ever created.

100/100