When Evil Strikes in Holy Gotham City, Only One Hero to Call… “Bat Pussy” review!


Good for nothing Buddy and his two-bit working girl wife Sam bicker slangily about their sexual performances. As Sam lays nude in bed and a naked Buddy flips through a sleazy magazine in search for the new positions to experiment, the two become inspired to ravage each others’ privates all the while expletives toward one another fly. Soon, Buddy decides to start snapping photographs of his nude wife as part of a plan to create an adult spread, like in the magazine. Deep inside Bat Pussy’s headquarters, a tingle in her twat informs her that somebody, somewhere is creating porn in her holy Gotham City and she quickly dresses from nightgown to bat suit to spur into action. The not-so-caped crusader jumps onto her Hoppity Hop and makes haste across town to intervene, but as soon as Bat Pussy dives in to stop the perversive pornographic nature, she dives right into the fold of lustful, foulmouth appetites.

American Genre Film Archive and Something Weird Video, partnered with distributor MVDVisual, releases a restoration of one of the earliest known porn parodies, “Bat Pussy,” onto Blu-ray that spoofs, horrendously, the Adam West starred “Batman” television series from the late 1960s. As far as a porn is considered, “Bat Pussy” lacks any sensical sexual action resulting in a double one-two punch wham!-bam! of no plot and no actual sex; instead, Buddy and Sam’s southern caints and worsh tub conversing of ignorant and pointless potty mouth conversation is more entertaining than Buddy’s limp impotence that dangles between the legs of being bizarre foreplay with the very freckly and curvy Sam. Since both of whom are seriously unattractive in appearance and performance, “Bat Pussy” has the stigma of being the worst porn ever produced. The actress behind “Bat Pussy” has far superior attributes than compared to her costars, but lavishes in a twang that’s hard to ignore and her vigorously tasteless implementation into Buddy and Sam’s awkward makeshift threesome is beyond the point of cringe worthy.

“Bat Pussy’s” gridlocked and effortless plot isn’t much to write about unless a bonus movie accompanies it and, in this particular release, “Robot Love Slaves” waits to be received in the bonus material. The bonus feature tells the story of Clark, a mad scientist who creates pleasure gifting robotic women in spite of a conniving wife whose scheming to be handicapped to steal her Husband’s groundbreaking work and be in the arms of her illicit and conspiring lover, Dr. Dicks. Clark constructs four pleasure bots, testing two of them on his friends with their specific built in sexual qualities, and keeping two for himself until the very right moment to strike against those who seek to dethrone him of his creation.

“Robot Love Slaves,” also known as “Too Much Loving,” is another early 1970s stag film. The science fiction sexploitation arouses a little better than the main feature and consisting of a plot that starts from A-to-Z and more striking women involving Sandy Carey (“Drive-In Massacre”), Sandy Dempsey (“Country Hooker”), and Candy Sampler (“Flesh Gordon”). Though roughly and technically hardcore, “Robot Love Slaves” is more softcore not by directorial design, but by edited manipulation that serves as a drastically cut-downed final product; nonetheless, the overall tone plasters a more earnest setting of deception, sadism, and pleasure rather than fooling around in a waste of runtime. Billy Lane and Adam Ward costar.

AGFA and Something Weird Video’s MVDVisual distributed “Bat Pussy” and “Robot Love Slaves” is a restoration of cult bric-a-brac right onto Blu-ray home video presented in the original aspect ratios of 1.33:1. “Bat Pussy” has been through a 2k scan from the only surviving 16mm print in existence found in the back room of Paris Theater in Memphis, Tennessee. The restoration puts the pieces in order that result in a slightly washed glaze from the dated print. Scratches and grain remain evident, but, like the not-so-hardcore material, nothing too obscene. The mono audio track is more interesting with pieces of the audio track removed upon the unknown director’s direction; during some points of the awkward romping, the audio would cut out, Buddy would look up, audio would come back in, and Buddy would say, “what?” and then the audio would cut back out. You’d have to see hear it to believe it. “Robot Love Slaves,” which also went through the 2k scan from the 16mm elements, suffers far worse from father time. Doesn’t help that the film is also heavily cropped and edited to avoid being extremely explicit. The audio track cuts in and out near the end, popping with distortion under a low ranged ceiling, and flushed with hisses. Bonus material includes a commentary track from Something Weird’s Lisa Petrucci and Tim Lewis, crime-smut trailers and shorts from Something Weird Vault, and liner notes by Lisa Petrucci and Mike McCarthy. The vivid and hilariously illustrated “Bat Pussy” blu-ray cover is perhaps the most remarkable aspect of this release. Though both films are of unknown origins and much of the cast and crew are an enigma, “Bat Pussy” and “Robot Love Slaves” revel in a sexploitation realm all their own with wish-washy filmmaking and poor, but exuberant, performances from a cast who never spoke of these two, under an hour, cult hits ever again!

Copulating in the Woods is Evil’s Catnip! “Don’t Fuck in the Woods” review!


Alex and Jane just graduated college with an uncertain future ahead of them. In financial debt with no aid from their family because of their lesbian relationship, Alex can’t shake the uncomfortable sensation that her life spirals down an unknown path. Jane’s optimism stems from the upcoming reboot woodland retreat with friends. Booze, drugs, and a whole lot of sex is planned to escape reality’s harsh unforgiving grip. There’s only one problem. A creature lurks in the woods, sniffing out the moment of vaginal penetration, and ripping to shreds the naked, sweaty bodies that were entangled in raunchy passion. A jock, a cheerleader, a geek, a stoner, and a pair of lesbians are the familiar horror film tropes fighting for their very lives in a grisly battle against a ghastly man-beast.

“Don’t Fuck in the Woods,” an alluring cavalier horror film title, is the indie project from writer-director Shawn Burkett. Burkett’s crowdfunded low-budget venture doesn’t piddle around the subject matter with interpretive titles or undertone stories. Burkett, with every intention, aimed his sights on developing the most proverbial scenarios of horny young folk in the woods being stalked by an inhuman monstrosity and achieved great success while also topping his film off with a sexually explicit cherry, defining “DFITW” as every young boy’s wet dream with gratuitous nudity and blood splatter mayhem! In fact, nudity, at least in my belief, outweighs the creature in screen time with the majority of the female cast baring more their breasts than the creature bares it’s teeth.

Brittany Blanton and Ayse Howard lead in the lesbian roles of Jane and Alex and are the only two actors to have characters to have some meat on their depth chart. Hence, why they’re in the lead role shoes. Blanton and Howard alternative style spills into the rest of the cast pool. Roman Jossart, the stoner, naturally gushes with wit and delivery that makes the sweaty, large, and overly perverted character very likable. Then there’s the inexplicable Nadia White. The “Give It To Me Grandpa” actress (look it up in Google) wears many shameless hats off screen, from modeling to fetish porn, but the stark blonde who once wrapped herself completely in duck tape except for her massive boobs, dons a hardly uncharacteristic character whose attached to the hip of her tall, dark jock boyfriend Conor, played in a debut performance by Brian Cornell. Hannah Herdt picks up the geek trope with credulous rant about iconic scream queens and their rise to fame without having to bare it all on screen. Kayla Stone, Brandy Mason, Derek Wehrley, and Scott Gillipsie in a dual role as Luke and the creature round out the rest of the “DFITW” cast. What I love about this cast is the fact they’re not these super slender and fit individuals with four, six, eight-pack abs you typically see in horror films. Instead, each one has their own little mid-section cupcake pudginess or pooch and that’s okay!

Above paragraphs contain praise for admiration and passion toward everything that’s right about “DFITW,” but there’s also plenty to dislike and many viewers, and reviewers too, have spoken publicly their harsh negativity. In a more constructive criticism, the first point is that Burkett’s film has no real logical story structure. Why should we care about these characters who trek into the woods, bone like rabbits, and then become lunch meat for an anti-fornication fiend? Secondly, the editing and special effects need firming as some kill scenes felt unnecessarily rushed and prolonged terror scenes didn’t really induce the terror, requiring that edit to break apart the monotony of the scene. The cheaply made creature passes, but the imperfections in the latex, or whatever material it was constructive of, can be clearly captured. Which leads me into the Alfred Hitchcock quote at the beginning of the film, “There is no terror in the bang, only in the anticipation of it.” The anticipation of the creature was sorely absence as much of the film focused on the group and their shenanigans and didn’t give the creature much hype, reducing it to a powerless vessel until rearing that jacked up Ninja Turtle head into the campers’ den.

Concept Media and Shawn Burkett’s “Don’t Fuck in the Woods” is a horror homaging and referencing machine, spitting out as much time-honored horror movie no-nos and final-girl conventionalism as one film can, but the story feels hollow inside and doesn’t offer worthwhile character development in neither protagonists or antagonist. Definitely the title, and even the film as a definitive whole, borders that thin line of becoming a ridiculously bad, but very interesting, parody porn, exploiting the rules of the slasher genre and having little-to-no girth of a plot. Roman Jossart’s hilarity, notable “Predator” references and remarks, and the fair amount of fair skin saves this exploitive film from being a total loss and, as well, the overwhelming communal participation and support to have this film see the light of day is absolutely amazing as a title like “Don’t Fuck in the Woods” would financially scare the money bag pants off any potential backer. You can see “Don’t Fuck in the Woods” on Vimeo On Demand by clicking the link below!

An Evil Short: “Love is Dead” review!

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During a therapy session, Peter recounts the tragic last and painful moments with his distraught wife Mara before she commits suicide. Peter’s recollection is a raw and unadulterated look into the common and devastating marital strifes that plague to destroy connecting relationships and end tattered lives.
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Frequent horror journalism Jerry Smith writes and directs “Love is Dead,” a short traumatic drama film stemmed from pieces of his own life brought to fruition, delivering an emotionally charged shower scene with adult stars Joanna Angel (“Evil Head,” “Re-Penetrator”) and her on-screen, off-screen lover Aaron “Small Hands” Thompson where Mara (Angel) confronts Peter (Thompson) with questioning infidelity while cornering and confining him in the shower. There’s a bit of back-and-forth that eventually lands Mara into the bargaining stages of the Kübler-Ross model, aka the five stages of grief, where she bets she can give better head than Peter’s undisclosed lover. As Mara proceeds to go downtown in an erotically uncomfortable moment of irrationality, Peter’s built up anger goes from hot-to-cold in a stinging moment of what should have been a gratifying release. Now for a side bar, being two professional adult film stars and a real life couple, the fellatio scene could have been not staged or could have been completely staged with some teasing cinematography accompanied with that familiar slurp and gag audio effect. Either way, the dynamic between the tattoo-riddled performers is fairly natural and passionate in their own Burning Angel regards, but does favor less like a ready to romp fantasy and more like a provocative insight of marital desperation and chapter ending turmoil.
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Aside from Angel and Thompson, “Insidious” actor Ruben Pla tackles the outsider character looking in through the mindset of Peter’s therapist Michael. Michael is not only rightfully and objectively cold and stern, as many therapist are groomed to be, but he’s mechanically and brutally forward, dishing out the painful truth to Peter when Peter’s inner conflict comes to the forefront on whether he could have saved Mara or not. Though minor in screen time, Pla’s role partakes as a major contribution worth the respect of the short runtime.
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The 10:50 minute short is a product of the independent film studio Sickening Pictures founded by BJ Colangelo and Zach Shildwachter. “Love is Dead” can be viewed from free over at Sickening Pictures Vimeo page, but beware, the film is definitely NSFW! Check out the Jerry Smith inspired “Love is Dead” short that’s full of overwrought pain, doused in uncomfortable situational nudity, and barred with incomprehensible loss tightly bottled inside a reality-checking one-sixth of a hour.

Decadent Evil Takes the Form of Two Blood-Sucking Lesbians! “Vampyres” review!


A dense English forest surrounding a decaying manor house sets as the hunting playground for a pair of seductive female vampires, Fran and Miriam, who have reigned a disconcerting terror through the area’s local inhabitants. When Fran lures and imprisons a touristing male as her bloodletting sexual hostage, Miriam believes Fran is diverging into a dangerous game of simply playing with her food for too long. Miriam proves to be right when a trio of campers stumble upon the vampires’ manor lair, causing a fair amount of distraction when the three friends attempt to uncover the secrets of the area and the myths of the house that will expose the true and terrifying nature of the two vampires. A mistake the three may wish they never would have made.
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“Vampyres” is a Victor Matellano 2015 rendition of the 1974 José Ramón Larraz directed abundantly sensual, over sadomasochistic vampire film of the same title but also known as “Vampyres: Daughters of Darkness.” Matellano’s remake faithfully follows the original storyline and with the assistance of Larraz himself tacked on as a credited writer, Matellano was able to keenly hone in on the ambient tone and the graphic slaughtering display the story necessarily requires to quench it’s own thirst for blood. Let’s also not forget the sex, the sex, and the sex that absolutely sinks it’s teeth into of most scenes. Long time has passed since the rebirth of an erotic creature of the night; a plague of mindless ferocity has been the modern vampire. From “Blade” to “The Strain” to one of the more recent reviews of an independent film in “Black Water Vampire,” a dark cloud of a deformed and mutated species of bloodsuckers have been more popular with the masses. Matellano’s “Vampyres” is a love song to the erotic European vampire that’s powerfully seductive, classically gothic, and simply pure blooded with two fantastic femme fatales.
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Underneath the dark and ominous cloaks are the beautifully succulent Marta Flich and Almudena León as blood fiend lovers Fran and Miriam. Flich and León have a combined total of 5 feature length films between them, including “Vampyres,” but where the duo lack in experience, Flich and León thrive with their onscreen chemistry that delivers an piercing intensity with a dynamic blend of softcore porn and tantalizing terror as if they’re real life lovers with a real life knack for killing. León has previously worked with Victor Matellano under the Spanish director’s prior horror film, 2014’s “Wax,” and their relationship growth comes whole with the addition of Marta Flich, a buxom brunette willing to savor every moment and put forth every effort into some extremely difficult scenes. No two women can make gore sexier than Flich and León.
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Vampires Fran and Mirian heavily overshadow the remaining characters consisting of actors such as Verónica Polo, Anothony Rotsa, Victor Vidal, Christian Stamm, and Fele Martinez who, as a whole, do a fine job performing in this rekindled niche of horror. To add a bit of flare and to help “Vampyres” stick out from above other remakes involving an slew of unknown faces, “Dracula A.D. 1972” and Captain Kronos – Vampire Hunter’s” Caroline Munro and “Tombs of the Blind Dead’s” Lone Fleming have more than cameo appearances, providing familiar genre faces fans know and are attached to when riding along the reminiscing train from the era of which this film’s story is birthed. Munro and Fleming are also accompanied by other genre vets including “Zombie Lake’s” Antonio Mayans, Concrado San Martín from “The Awful Dr. Orlof,” and Hilda Fuchs and the late May Heatherly from 1980’s “Pieces.”
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Visually, “Vampyres” dotes as cinematography worthiness in being a European inspired film from a Spanish production by not being flashy but rather grim and simple. Using elementary special effect techniques, “Matellano” doesn’t cheapen an already intentional trashy vampire schlock film with story stiffening CGI; instead, buckets of blood and practical effects elevate the aspiration toward the resemblance of a 1970’s inspired story complete with broken English performances. Set locations are purposefully vanilla, including a plain small bedroom with white sheets overtop a simple bed frame, a bleak forest inhabited with thin trees, and an isolated manor with middle life bones standing lifeless in the woods, and with key shots staged with vivid conventional colors, such as the bathtub scene that’s feels very clean even with the amount of blood used, and the cellar finale that’s very subtle in it’s background even if it’s the root motivation for the vampires.
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“Vampyres” is one of the best remakes there is, there ever was, and there ever will be by staying faithful to the Larraz’s original film and Artsploitation Films should be basking in the fresh, warm blood of their latest and greatest release. José Ignacio Arrufat’s brooding score seizes to snare the soul from the well balanced Dolby Digital English 5.1 Surround Sound mix laid over a 2.35:1 anamorphic widescreen presentation. With a slight tilt toward a darker variation on the grayscale, the overall picture is clean and unhindered and even though stark colors don’t run throughout, the bland coloring provides richer qualities toward a excellent homage. One thing is for sure, blood red is the only vivid hue here. Bonus features include an Interview with Caroline Munro, a making of the “Vampyres,” and trailer reels of Artsploitation Films films. The modern masses can have their disease-ridden vampire genres for the very fact that director Victor Matellano’s “Vampyres” entices with an alluring butchery based on fundamental foundations of European horror values and endearment, resurrecting the erotic vampire once again!

Buy “Vampyres” on October 18th. Just in time for Halloween!

Dutch Avant-garde is the Next Evil on the Butcher’s Slab! “Meat” review!

screen-shot-2016-09-23-at-8-50-29-amA young and beautiful butcher shop assistant succumbs to the middle-aged butcher’s sexual advancements and fantasies at the workplace after she catches glimpses his sorrow, but when the butcher ends up naked on the shop’s floor with his throat cut, the assistant becomes the number one murder suspect for an inspector who coincidently looks almost identical to the deceased butcher. As the investigation deepens into the assistant, the inspector’s solemn, solitary life blurs to an assimilation into the butcher’s and his suspect turns from being a prime target to being a crucial part of the his physical and mental altering integration into the dead butcher.
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“Meat” is a powerful transcending film seismically barreling through a Lynchian structure consigned to provoke the consequences of unhappiness and the consequences of poor choices during unhappiness. Directors Victor Nieuwenhuijs and Maartje Seyferth have orchestrated a moderately expressionistic arthouse Dutch drama told in a spiraling sexual context. The meat in “Meat” and the sex in “Meat” clearly share a correlation, peppered as motifs from start to end, and the positive and negative dimensions of the two are so obscured that pinpointing the differences between them are impossible, but both are for sure the last hope for the butcher and his assistant Roxy to embody the essence of sex and meat for opposite reasons. Whereas Inspector Mann simply drags wholeheartedly through his existence, expressing his numbness toward his mundane job and harshly breaking up with his lover without an ounce of compassion. Its until the butcher’s case lands in his lap does the Inspector shows signs of life again.
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If you notice that lead actor Titus Muizelaar’s dual roles have purposefully generic labels. The butcher is credited as just the butcher while the Inspector has a proper name, but the name Mann is just as indistinguishable as if the character was christened Guy. The synonym character was intended for blending, to blur their personas, and to transform one into another. To explore the transformation, “Meat” begins a parallel between the butcher who, in a metaphorical sense, has his cake and eats it too and the inspector painstakingly limps from one spot to another. A contrasting experience between the two firmly establish their individualities. Then, the film shifts gears midst a catalyst with the butcher’s mysterious death, forcing the female assistant, an uninhibited role performed uninhibitedly by Nellie Benner, to be the resilient gateway for the inspector. Third gear shifts into the inspector being more and more intrigued, if not extremely envious shown very subtly, by the butcher’s seemingly unchained facade. Each character emits an expressionless stature with a deep-rooted ugliness burrowed inside and each desire a change in their turmoiled lives, whether it’s sustaining love, seeking love, or able to love in order to battle every aspect of oppressive depression.
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The uncomfortable open and intimate relationship between the butcher, Wilma Bakker’s Tiny, and the shop owner and the psychosexual workplace harassment involving the enthusiastic, video-documenting assistant filets the juicy bits from the bone with numerous innuendoes and explicit carnal exhibitions taking brazen residence within the animal blood stained walls of the butcher’s small meat market. You’ll never look at steak, pork chops, and leg of lamb the same way again! Only when “Meat” transitions into that second gear does the erotica becomes less erotic and more forced and horrifically exploitive. Scenes of undisclosed rape and of blatant genitalia speak upon that aforementioned correlation of raw meat and sex; no choice is given to the cow when the cow is killed and slaughtered for the cow’s delicious beef and the same can be said in sex as it’s taken without much consent and it’s being reaped for the benefit of others.
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Graphically infrasexual and skewed beyond simplicity, “Meat’s” refreshingly loaded with unpleasantries and basted moistly with an outer layer of perversion that drips into an oven of thriller surreality. The Artsploitation team lives up to the moniker by, after being long overdue, crafting a home video release of 2013’s “Meat” aka “Vlees” onto DVD and on digital home video. The digital screener provided for review doesn’t give much insight into the audio and video qualities or speak to the testament of the special features. However, “Meat” is a phenomenal film that’s well-aged and ready to be rubbed, tenderized, devoured in all senses of the meaning.

Buy “Meat” on DVD!