Taking the Vindictive Fight Against EVIL! “Girl Number Three” reviewed!


Art major Max lives a disciplined life, especially in the love department which is constantly challenged by her roommate to play the field, but Max aims for true love and will consummate her feelings toward longtime boyfriend, Brian, whose patience will be rewarded with a sexy maid costume at a Halloween party that will eventually lead back to the bedroom. Before the party, Max is kidnapped by masked men at gunpoint and taken to an abandoned textile factory. Surrounded by All Hallows Eve zealots and eight other hooded and bound women, Max becomes the ritualized girl number three, a number bestowed upon her as a chosen sacrifice amongst the brotherhood for sex and, most likely, death. When part of the crumbling building collapses, Max seizes the opportunity to flee, but as escape from the building seems impossible and other women screams echo through the vacant hallways, girl number three has been pushed too far and picks up an old fire axe, concluding that she must kill them all.

The second Shami Media Group distributed production to come across our chop block in a matter of weeks. First, the Nathan Thomas Milliner directed “A Wish for the Dead” written by Herschel Zahnd was the fitting entry film to ease into and extract our thoughts, takes, and opinions. Overall, Milliner’s film sold a solid product. Now, here’s Herschel Zahnd directing “Girl Number Three” that’s written by Nathan Thomas Milliner and Zahnd guides us down a completely different pathway from Milliner’s wish granting of undead havic and into a conceivably relevant sadistic exploitation and vengeance thriller. Released a decade ago in 2009 and based off of a Milliner’s short graphic novella, which seems to be a reoccurring and fruitful source of material for their production company Renegade Arts Productions, Zahnd’s ice breaker into the feature film market with “Girl Number Three” precedes the Milliner’s “A Wish for the Dead,” kickstarting the duo’s long wrong together into independent filmmaking.

With the two filmmakers so intwined, of course there are others, in the cast, that have had starred or have had bit parts in both films. Leading lady, Julie Streble, is one of them. Streble’s tackles the titular character who shoulders more than just being a conventional final girl; in fact, far from it as she’s a girl who makes things final…forever. Streble has an absolute vision as a scorned and beguiled woman to well-round Max’s initial love is true nature and her ideology slowly unravels as Max’s day trek becomes nothing more than an objectifying daily journey as the film progresses. From being bumped into twice by men, without an apologetic gesture, and being googly-eyed and hit on with unwelcome advances, Zahnd forces Max’s everyday struggle with the opposite sex down the audience’s already #MeToo’d cultured throats – remember, this film was made 10 years ago before many of the current movements. Other characters are not thoroughly developed to be systematically a part of the story to unfold in such importance, but play significant parts in her physical and mental reshaping of being a killer elite and the actors and actresses in those role include Kent Carney, Shawn Dolphin, Jess White, Jason Crowe (“Don’t Fuck in the Woods 2”) and “A Wish for the Dead” troupe – Dennis Grinar, Lori Cooke, Melissa Hoff-Decker, Chuck Lee Miller, and Adam Pepper.

“Girl Number Three” has a story that drives down a one lane road, a road certainly headed for Max to give her abductors hell, but a proverbial fork in the road puts a monkey wrench into gears already in motion. There won’t be any spoilers to be had here, but the outcome of “Girl Number Three” discerns differently in a social context that maintains another variant of disturbing exploits. A welcoming trickster’s commodity might change perceptions or might insight and evoke counter attitudes of how Max unravels her newfound vindictiveness. I praise Zahnd and Milliner for their foresight of a cultural that’s abrasively pandemic and how the structure of their film decimates one demeanor to seamlessly flow into another without a speck of hesitation. However, the latter borders being undercooked, and perhaps favors an unchancy raw red center, in not dumping more into the backstory or even circumnavigate with a savage shocker of an ending. The end scene was good enough to call the film quits, but not without leaving much to be desired.

MVDVisual and Shami Media Group ups the kill counter with the Renegade Arts Production, “Girl Number Three,” releasing the 80 minute unto DVD home video. The singer layer DVD is presented in a widescreen, 16:9 aspect ratio. Filmed in black and white, the devoid of hues reinforces the subject tone while also appearing to shade obvious low-budget obtrusions. With a story that mainly takes place inside a ramshackle building, black and white was an obvious choice as colors receptacles would be sorely underused and everything would just appear vapid and monotonous, like looking at the same four walls in a prison cell or a high school classroom. However, there’s always a downside to shooting black and white, such as contrasts levels on an unstable picture and the evident presence of digital noise. Exteriorly, the blown up moon and glowing yellow building windows composite was superficial at best, but clever in a pinch. The English language 2.0 stereo mix had the worse of the two major technical aspects with a low-bit rate that caused some hissing flare ups, the lossy metal soundtrack lacks robust fidelity, and there’s was also a complete disregard for depth. For example, when Max is exiting a store on her cell phone, her vocals remain on the same audio level from the background to the foreground. The mix is what it is, but there are solid points for a decent range and an agreeable dialogue track. There are no bonus features available other than a static menu, with two options to proceed into the feature. Don’t know why. The DVD art from SMG is a gorgeous illustration of the titular character that’s sexy, raw, and retro. “Girl Number Three” has grindhouse bones and director Herschel Zahnd fractures conventional storytelling with a notable plot twist, but Max and her cobwebbed axe doesn’t just rack up a body count as the intertwinement of the person and the instrument of destruction only eviscerates temporary contentment waned much more cognition.

Available @ Amazon.com!

A Double Dose of Jason Blade Breaking Bad Guys’ EVIL Jaws in “Day of the Panther” and “Strike of the Panther” reviewed!


A secret strike force known as the Panthers enlist the best of the best when considering agents and those who pass the Panther’s rigorous training will become part of the fight for good organization. The Hong Kong Panther branch graduates two Westerners, Jason Blade and Linda Anderson, who become a perfect undercover team. When the pair uncover a Triad drug ring, the investigation sends Linda ahead to Perth in West Australia to initially track down Jim Baxter, a lethal enforcer in the drug dealing business. Anticipating losing the tail on Baxter and disregarding Jason’s wishes to wait for his arrival, Linda surveils and sneaks into the Baxter’s hideaway only to be falling into a trap that ends in her demise. Jason vows vengeance and infiltrates Baxter’s organization for leads and information, using his martial arts expertise to gain him complete trust and access to the kingpin.

“Day of the Panther” is part one of this two part film series which has been released onto Blu-ray courteously by Umbrella Entertainment and, perhaps, even showcases Australia’s most famous martial arts superstar! Released in 1988, “Day of the Panther” combines fisticuffs, roundhouse kicks, and an arsenal of quips into a panache of action hailing from the land down under. Hard to phantom that Brian Trenchard-Smith, man behind “Dead End Drive-In” and then later went on to direct demonic anarchy in “Night of the Demons 2” and a couple of those pint sized “Leprechaun” sequels, one including space, was at the helm, steering eight glorified and unstoppable fight sequences complete with “Street Fighter II” punch and kick sound effects. “Dangerous Game” stunt coordinator and writer, Peter West, pens the script that leads Jason Blade down a road of vengeance for a slain colleague in a formulaic and cliché trope driven plot, but this Ozploitation is more entertaining than uninteresting for a younger audience.

In “Strike of the Panther,” the break a politician’s drug addicted daughter out of a brothel and inclusive crime fighting Panther, Jason Blade, returns when Jim Baxter holds hostage’s his girlfriend, Gemma Anderson, after a deadly prison escape. Fortified in a ready to detonate vacant Perth power plant, Blade and his crime task force attempt to beat the information out from Baxter henchmen before sieging a rescue. Baxter declares his own brand of revenge toward Blade that not only includes high yield explosives that could wipe Perth from off the map, but the brute also summons every malign martial arts fighter he can muster to cloak themselves in amongst the power plant rafters, lying in wait for Blade and the police to storm their holdup. Blade must go for Baxter alone to not only save his girlfriend, but save Perth as well.

What is essentially Jason Blade part deux, “Strike of the Panther” retreads over old footsteps in this 1989 release with Brian Trenchard-Smith and Peter West filling in once against as director and writer. The obvious back-to-back shoots suggests that not much has diverted from the original tone of the film and with that truth, Jason Blade continues his trend of human punching bags without so much of breaking a sweat. The sequel, much like the first film, is good, clean action without much blood, without much cursing, and without much perversion. “Strike” might be edgier with a few more side boob scenes. That’s about it.

Martial arts expert Edward John Stazak is quintessentially the Chuck Norris of Australian cinema, but whereas Norris has a prolonged career in the film industry, with credits out the wazoo, Stazak’s success in the biz never took a jump kick flight. Not even with Jason Blade, a character who sounds like a fighter straight out of a Mortal Kombat installment, could boost a lustrous vocation. Stazak’s likeability is only shorn by his lack of expressive versatility as he’s virtually one dimensional, showing no range of emotion when the scene calls for it or even when in the rare instance of being bested at a fight, but the handsome, muscular Aussie can sell a hand-to-hand skirmish with one or ten opponents without wondering too far into cheesy coordinated territory, which Stazak co-assisted in the fight sequences alongside screenwriter and stunt man Peter West. The lack of a good and powerful antagonist also spikes “Day” and “Strike’s” well-rounded action status. Jim Richards as the tough Jim Baxter wasn’t a formidable adversary for Jason Blade. Baxter never challenges Blade’s weaknesses because Blade doesn’t have any weakness so it seems. Even with Gemma Anderson is kidnapped, Baxter never really leverages the opportunity. Jim Richards also looked out of shape in comparison to Stazak, who routinely went sleeves and, more frequently, shirtless to show off his physique, but Richards is also a well-known self-defense instructor who has worked with military personnel. In short, Stazark looked better for the camera. If you’re not an actual fighter, you’re an actual actor, such is the case with John Stanton and Michael Carman who brought a little thespianism to the “Panther” films. Stanton presented a fatherly figure, playing a Panther named Wes Anderson at the tail end of his tenure with the organization, to Stazak’s Blade. Andersen’s barely copes to the loss of his daughter, Linda, but that’ the Panther way or so it’s assumed as he puts it, “life goes on.” That such detached reality can be said about Zukor, the drug kingpin of Perth, played by Michael Carman (“The Devil’s Playground” and “Quigley Down Under”). Carman provides the aggressive affluent with has thugs to do his dirty work. Unfortunately, Carman does not continue with his Zukor role in “Strike of the Panther,” but Zukor and Wes are the fire and ice that motivate the marionettes into action at least in “Day of the Panther” while Wes pivots on a strange character tangent with supernatural abilities that’ll be explored later. As far as Love interests go, Paris Jefferson fills that void as Gemma Anderson. The “Xena: Warrior Princess” star becomes the niece to Wes Andersen, taking care of her uncle while she takes care of Jason Blade’s needs – wink wink. Jefferson’s stout feminine performance perfectly outcasts any kind of frail attributes typical of a damsel in distress that’s is trope-laden in action films; think Mary Elizabeth Winstead in “Live Free, Die Hard.”

Overall, as action films, “Day” and “Strike of the Panther” are fairly conventional martial art films for the 1980’s with a few eye brow raising quirks. For instance, Jason Blade is infallible. Perhaps, too foolproof as he single handily breaks down drug structures with a one-two punch simplicity, as if the level setting was on easy mode. Another what? moment stems from the character Wes Anderson in the sequel film when he suddenly obtains empathic powers after being grazed by a fleeing car and he’s able to reach Jason Blade on a subconscious level as he enters the power plant’s maze and takes on ninja-cladded warriors. Lastly, for back-to-back shot films where the release dates are stack closely upon each other, the need for an in-depth recap was terribly excessive that perhaps only required a tiny bit of exposition to fill in the gaps. “The Evil Dead” series is an ideal candidate for comparison of prologue recaps. Ashley Williams explains, with accompanying depiction variants, in “Evil Dead II” and “Army of Darkness” his misadventure to a cabin in the woods and his poor Linda becomes a Candarian demon plaything, but the Sam Raimi directed cult horrors are also at least five years separated. Brian Trenchard-Smith concentrates his direction of “Strike of the Panther” to detail almost every plot point through a Wes Anderson voiceover and rehashed footage. There are also awkward workout and dance scenes reused for the sequel that are not a nod back to the first film, but are used as current storyline. Talk about your deja vu!

Umbrella Entertainment release “Day of the Panther” and “Strike of the Panther” onto a double bill Blu-ray, a first for the Ozploitation gems. The two-films on a single BD50, region B disc is presented remastered in a high definition 1080p widescreen, 1.85:1 aspect ratio, from the original 35mm interpositive negatives, scanned and restored in 4k. Despite some minor strip issues (i.e. some cigarette burns and a few translucent scratches), the picture has tremendous stability in color and in natural grain. However, the framing seems a bit off as if the cropped, but that could also be very much intentional by cinematographer Simon Akkerman. The English language 2.0 DTS-HD Master Audio track has full-flavor robustness and balanced across the board. Remember those Street Fighter II sound effects? Dialogue has good distinction with solid range and depth with the soundtrack and ambience. No subtitles are available on this release. Unfortunately, there are no bonus features on this release either. The Brian Trenchard-Smith back-to-back films, bustling with endless wrangle, hail from Australia for the first time on Blu-ray and while might seem excessively obsolete in contrast to today’s action film, “Day of the Panther” and “Strike of the Panther” are ravishing relics that are extremely priceless to martial art cinema collectors.

Day and Strike of the Panther on a Blu-ray! WHAT!! Get it now at Amazon!

One Wish Sparks a Lifetime of Evil. “A Wish for the Dead” reviewed!


Ever since his wife’s life has staggered on the near brink of death, John’s mental state has been thrust into constant turmoil. Unable to get straight answers from doctors and stuck inside the vapid white walls of a hospital, John remains by his unconscious wife’s hospital bed. When a mysterious man with a severely disfigured face wrapped in bandages offers him a locket that will grant him a single wish, John’s desperation to try anything to save her soul stretches beyond logic and reality, overpowering his rational principles. Despite coming with an ambiguous warning on how to detail his wish, John heedlessly requests that death cease to exist. The locket grants endless life not only for John’s wife, but for everyone as the dead rise from their eternal slumber in perpetual anguish that sends them into a frenzy of violence without a means to an end.

“A Wish for the Dead” is the first venture into a Renegade Art production and a Shami Media Group, or SMG, release for Its Bloggin’ Evil and, to be frank, the viewing re-establishes a couple of important things: 1) “A Wish for the Dead” has tremendous bite for an under the radar flick and 2) never rule out modestly financed films based on their technical appearances. The 2014 micro-budget indie horror from the short film director of “The Confession of Fred Kruger,” Nathan Thomas Milliner, along with the editing, photography, and co-writing assistance from “Girl Number Three” writer Herschel Zahnd, takes the cautionary tale themed with a careful what you wish for approach when despondency has one backed against the wall that leads to direly lethal negligence. Milliner’s film that’s based off a comic book of the same title might not be “Wishmaster,” starring Andrew Divoff, but can certainly be grouped into that similar genre realm where the ugliness of mysticism mischief can be personally devastating instead of gratifying. The film can also be lassoed into the over saturated zombie category because, well, you know, the whole arise of the undead thing.

“A Wish for the Dead” has a fairly large cast, but doesn’t have definitive leads. Instead, Milliner and Zahnd scribe a tale with miniature, personal scenarios for characters with John being a considerable catalyst or, an interpretation, of a centralized character. John’s played by Chris Petty, who had a bit part in the Zac Efron Ted Bundy biopic “Extremely Wicked, Shockingly Evil and Vile,” and despite the character being fairly one dimension, Petty sells the performance of a grieving, greedy husband. John encounters the mysterious, disfigured stranger in a trench coat, head wrapped like a mummy, and nodding John over like a he’s going to sell him a knockoff Rolex from the inside lining of his coat, in Robert Hatfield that tempts him with the wish granting locket. Hatfield version of a biblical villain has charismatic and devilish value, but nothing new to note the rendition from previous performances of shallow humor and sly mischief upon an cutting grin. Branch off stories that indulge into supporting characters un-charmed, demised lives fill in the gaps and provide fuel for the undead fire and these supporting characters include Lori Cooke (“Girl Number Three”), Kristine Renee Farley (Hi-8 – Horror Independent 8), Adam Pepper (“The Zombie Movie”), Julie Strebl (“Volumes of Blood: Horror Stories”) and Ashley Anderson.

The beginning of this film starts off oddly as soon as the title credits roll for the feature film and coming to the realization that the viewer is actually not submersed into the actual story yet. First slither portion of the film is a short thriller, noted at the conclusion as being directed also by Milliner, that becomes clearly distinct from the rest of the plot line. The abnormal sequence snaps the story’s fluidity as a seamed segue that then constructs the multiple-tiered building blocks for the heart of the feature. Once the short has past, much to our chagrin that we believed to be the actual film, “A Wish for the Dead” goes into a precision mode with coordinating individually wrapped death backstories and while Milliner attempts to get us to care about these characters, all is washed away and lost when death revokes all their previous, present, and future terminations. The backstories become null and void when not circled back to for the exception of John and his wife that find’s a sweet ironic malevolency making “A Wish for the Dead” satisfying in the end.

MVDVisual and Shami Media Group courteously releases Nathan Thomas Milliner’s “A Wish for the Dead” onto a not rated DVD home video. Presented in a stretched 16:9 aspect ration, the lossy video quality and the lack of color, mostly in a squashy greenish-yellow, chap into sore spots along the 80 minute runtime to the almost the point of SOV quality. Darks are plagued with digital noise that remove the sharp quality from the image, leaving the story to fend for itself and make up for the lack of presentation. The English 2.0 stereo sound mix pops during the higher pitches of dialogue and of some action points, but the dialogue is in the forefront and nicely balanced amongst depth and range considering. There are no bonus features on this release, but as an interesting note, Milliner illustrated much of Scream! Factory’s home video artwork (releases such as “Halloween II and III”) and for HorrorHound Magazine. The artist and filmmaker’s graphically detailed and perfectly suited talents grace the SMG cover as well. A wish granted for the major win with “A Wish for the Dead” as a macabre success story for independent filmmaking for aspiring artists despite the post-production engineering for a cleaner release, but death isn’t pretty, is it?

Watch “A WISH FOR THE DEAD” on PRIME VIDEO!

EVIL Wants to Feed Off Your Pain & Suffering in “Hotel Inferno” Reviewed!


Gulf War decorated soldier Frank Zimosa uses his particular set of skills as a professional contracted hitman. Frank’s current assign takes him oversees to a luxurious hotel to eliminate a couple of marks, a man and a woman, who are itemized as atrocious serial killers who’ve murdered over 150 people and Frank’s employer seeks to provide the same gruesome retribution in a certain kind of way – remove the brain the skull and the guts from the body. The relatively simple task for Frank turns into a fight for his life and his very soul as he finds himself trapped inside the hotel, owned by a secret organization swarming with putrefying acolytes of an ancient, fire breathing demon known as The Plague Spreader. Frank was ordered to kill to satisfy her pain and suffering hunger pangs, but his tenacious refusal awakens the demon who now hunts him, craving his pain, his suffering, his eternal soul for her own sated gratification and disrupts the organization’s creed to keep her dormant for the sake of humanity.

More, more, more! My internal fireworks outpouring and wanting more from a fire and brimstone gore forged finale from the action-packed first person view feature length horror film, “Hotel Inferno,” could not quell the embodied explosiveness wanting more from writer-director Giulio De Santi! Hailing from Italy, “Hotel Inferno” pulls little-to-no punches when dishing out uber-violence and non-stop carnage that invigorates the sensory and corporeal experience in the first installment of what’s called the Epic Splatter Saga that will total over six films. Two have already been produced with the third in production! De Santi, who is no stranger to the fervid gore film, teams his visual effects knowledge with long time, special effects collaborator, David Borg Lopez (“The Mildew from Plant Xonader”), and makes something shockingly beautiful that’s only been wrongfully teased in predecessors.

What’s also unique about “Hotel Inferno,” other than its first person perspective, is nearly the entire dialogue is layered with a voice over track. Unique as well as cleverly cool, we’ll touch on why later, faces with distinctive dialogue pinpoint main characters, but their faces are either shrouded by some sort of horror-esque mask, turned away toward another direction, or fed through a communication conduit, such as a portable television-radio device. Same goes with lead character Frank Zimosa whose vision never goes eye line with a mirror, never gaining a glimpse see his frantic mug, though Zimosa sounds like a chisel chin, hard-nose, angry-looking ass kicker, especially when voiced vehemently by Rayner Bourton. Playing the arch nemesis that’s quickly established and continuously prominent through duration is not the all-powerful Plague Spreader, but, in fact, the faceless Jorge Mistrandia. Donning the voice is English born actor Micahel Howe (“Solo”) who has one of the more sinister intonations amongst the few; an attribute that can be cool, calm, and inviting and can suddenly transform into a treacherous, malevolent, and vile performance that amplifies the intensity tenfold. Bourton and Howe are essentially the sole two main characters inside a melee of supernatural goons and goblins, amongst them in the cast is the introduction of Jessica Carroll who went on to do more voice work in video games and actors from De Santi’s inner film circle with Christian Riva and Wilmar Zimosa, who without a doubt was the moniker inspiration for Frank.

What sets “Hotel Inferno” apart from other splatter films? The first person shooter style, or FPS, video game structure is it! In literally the first of it’s cinematic kind, “Hotel Inferno” looks, sounds, and feels like a FPS from start to finish, a blended progeny from the ultra-violent horror survival games like DOOM or BLOOD; honestly, everything about De Santi’s film feels like a BLOOD rendition minus the shirtless, axe-wielding zombies and the robe hooded, tommy gun shooting cultists, though the rotting henchmen due speak in a high pitch dialect. Think about it. In BLOOD, a game built on a foundation of iconic horror, the anti-hero, Caleb, is a gunslinger against a unholy cult he once was a part of and then becomes his opposition. Same goes with “Hotel Inferno’s” own anti-hero Frank Zimosa, a hitman hired by an organization who then deceives him for nefarious reasons and then Frank has to blast his way out to save his soul. The story goes right for the throat, throwing Frank almost immediately into peril, and from room to room, layout to layout, the anti-hero has to slice through henchmen and ghastly demons in a very HOUSE OF THE DEAD kind of face-off, weaponizing everything against foes with armaments in the anterior of a cultish backdrop. Super. Fucking. Cool.

MVDVisual distributes Giulio De Santi’s “Hotel Inferno” onto DVD from the Wild Eye Releasing’s Raw and Extreme label. Presented in a widescreen, 16:9 aspect ratio, the Necrostorm produced “Hotel Inferno” engages the viewer into battle, but also invokes slight vertigo and turbid at times, especially the cave-like dungeon that’s almost absolute pitch-black. Again, atmospheric video games are much of the same regard for instant jump-scares and De Santi pulls that off here by not illuminating much of the scenes. The English language Dolby Digital 2.0 stereo audio track is in an opposing stratum to how the film plays out; doesn’t quite sync with the action as the audio track is an obvious track laid on top to emphasis how much “Hotel Inferno” is like a FPS storyline. There’s an array of depth and range from each tier Frank has to painfully endure and willfully live through. English and Italian subtitles are available. Bonus material includes a secret bonus film entitled “Hallucinations,” a rough cut SOV, direct-to-video supernatural gore feature from twin brothers John Polonia (“Feeders”) and Mark Polonia (“Sharkenstein”) and Todd Michael Smith (“Splatter Farm”). Giulio De Santi’s “Hotel Inferno” is only part one of the highly anticipated Epic Splatter Saga, with part 2 and 3 very high on my to-do list The blood splatter is in a doom of mayhem, will quench gore hounds from any walks of life, and reap the collective FPS gamer from their stationary consoles and blow their mind with the most seriously berserk action-horror of this decade. Crudux cruo!

Purchase Wild Eye Releasing’s “Hotel Inferno” today!

Edna is EVIL According to the “Reform School Girls!” Reviewed!


After being apprehended for robbery, underage Jenny is sentenced to 3 years at Pridemore reform school where she immediately clashes with an iron fisted dorm administrator named Edna and her intimate inmate enforcer Charlie Chambliss. With a few friends on the inside, Jenny’s group becomes the target of Edna’s biased infraction system and Charlie sets her domineering sights on breaking the girls’ wills into submissive followers. The school is controlled by an equally sadistic, evangelically abusive Warden Sutter and Jenny’s multiple attempts at reforming the reform school with the assistance of a sympathetic psychologist staff member, and even her attempt to escape, have failed with torturous consequences. As Edna tightens her grip, Jenny and the girls seethe more violently as the weeks pass up to an inevitable uprising, snapping the young girls’ spirits when enough is enough.

Wet, wild, and womanizing, Tom DeSimone’s 1986 satirically women in prison film, “Reform School Girls,” is a cavity invasive good time all around! DeSimone, who also penned the script, has a revolutionary background as a male gay porn filmmaker, but made the crossover into cult genre films after his successful runs with “Chatterbox” featuring exploitation starlet Candice Rialson and “Hell Night,” starring “Exorcist’s” Linda Blair. Yet, “Reform School Girls” is hardly separation from the director’s once moonlit experiences other than the cast is almost entirely made up of beautiful, naked women showering together and when they’re not fully nude and wet, they might as well be wearing nothing while cladded in skimpy outfits and lingerie as a few characters copulate insinuatingly instead of explicitly. The only thing DeSimone was probably uncomfortable with was his last two WIP features, “Concrete Jungle” and “Prison Girls,” as they struggled to find an appreciative audience and thus “Reform School Girls” was constructed to be a mockery of the whole WIP market, exploding it violently, and sensationally, with the genre tropes that, ironically, skyrockets this film’s cult success.

The incarcerated characters offer a wide variety of individualities that are ultimately filled by big personalities themselves. Sometimes, those personalities come with a little head scratching questions. Such is the case with lead actress Linda Carol who isn’t the headliner of the “Reform School Girls,” but she’s certainly one of the main leaders, Jenny, of an imprisoned pack. Born in 1970, Carol had to be no more than 14 to 16 years of age at filming and was cleared for a number of nude scenes, especially around other nude women, but Carol had fire in her performance; in fact, the cast from specified roles to the undesignated titled roles were all highly stimulating in their presence and demeanor. When first entering dorm 14, teased hair and underwear was the unofficial name of the scene that spoke about the genre of the decade in a matter of a few minutes. This is where we meet Charlie Chambliss, a buff, scantily-cladded, totalitarian gang leader of dormitory 14, played fluorescently by rocker Wendy O. Williams. The then mid-30-year-old Williams was a bit of a duck out of water in a role that was for a teenage girl, but the front woman of The Plasmatics was awfully charismatic, brash, and a real illustrated performer who exaggerated dramatics to the next welcoming level in her knee high platform boots. While Williams had sexy hot-to-trot flair, Pat Ast leisurewear offered nothing more than a dull white coat over matron garb, but Ast punctures through anything matriarchal and goes full blown maniacal as dorm keeper Edna. Ast goes over the top and beyond with a love to hate – scratch that – kill character. If you think the evil that embodies Charlie and Edna ends there, you’re wrong! “The Howling II: Your Sister is a Werewolf’s” Sybil Danning’s apex of evil, Warden Sutter, struts around the school like a German commandant with a soapbox of vile and wretched women in a perverted Biblical sense and mastermind behind the abusive culture at Pridemore. The cast concludes with Charlotte McGinnis, Sheri Stoner, Denise Gordy, Laurie Schwartz, Tiffany Helm (“Friday the 13th: A New Beginning”), Darcy DeMoss (“Friday the 13th Part VI: Jason Lives”), and Winnifred Freedman.

Shooting from the hip on first viewing impressions, “Reform School Girls” is nothing like we’ve ever seen before. Sure, we’ve all see women in prison films, from “Big Bird Cage” to even making an argument on Netflix’s “Orange is the New Black,” and we’ve also see cheeky 1980’s comedy that if made today would be grossly lambasted with politically incorrect protestors. Yet, DeSimone’s satire take undercuts the stern nature of the WIP genre with great flamboyancy toward institutional exploitation and the ugly invasive issue of sodomy and rape that the themes can be easily pushed aside without so much of an inkling of consideration. Explosions, gunfire, skimpily dressed women, shower sequences, bitter tongue and cheek, and anything and everything that was omitted from grindhouse market place in this film constructs a smoke and mirrors effect that pivots sharply before getting ankle deep into the issues, no matter the severity just as long as Pat Ast crunches her face into a luffa shape and appoints a barely clothed inmate to a mandatory cavity search and the viewers would be just as captivated.

Umbrella Entertainment and Lakeshore Entertainment release the International Cinevision and New World Pictures production of “Reform School Girls” on a PAL 4 region DVD, presented in a widescreen, 1.77:1 aspect ratio; a slightly cropped version of the original film format. Whatever is cropped out is too trivial and the image picture supplies a palatable presentation with bold hues and bare, but naturally colored, skin tones, despite some fake tanning. One noticeable fleeting moment of an 35mm stock cigarette burn in the upper left corner of a scene, but in-and-out in a blink of an eye. The stereo 2.0 Dolby Audio mono track has balance that singles out the robust dialogue against a leveled down ambient and score recording. The range is good amongst all the reform girl chatter in the dorm rooms. A handful of shower and bathroom scenes have some muffled echoed moments, but the discord in these moments is still extremely low. Surprisingly, there isn’t one single bonus material on this disc, not even a static menu as the film goes right into play feature mode. “Reform School Girls” makes light of wretchedness, revels in the fun of unsavory fraternizing, and is unapologetic of a carnal and wicked tone on and off the screen, harboring one hell of a women in prison cinematic guilty pleasure.

Umbrella’s DVD is available for purchase at Amazon.com!