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Being Dismissed is EVIL That’s Hard to Choke Down. “Swallow” reviewed! (Second Sight Films / BD-R Screener)

Posted by Steven Lewis on

Newly pregnant housewife, Hunter, putters around the house while her workaholic husband enjoys the fruits of success and friendship with colleagues.  When she’s not cleaning the house or preparing a meal for herself, Hunter stares into the oblivion of her isolating environment.  The country girl who really had nothing to her name has fortunately found an opportunity to never be worried about financial insecurities and with every material thing a person could want in their right at her fingertips.  All Hunter has to sacrifice is her control.  Feeling lonely, powerless, and trapped, Hunter discovers swallowing inedible, dangerous objects gives her great joy and something she can control.  As she goes deeper into this obsession and her perfect world begins to crumble, she’s confronted with reexamining her dark past that stems her unusual eating habit.

Sometimes it’s our strange quirks, our self-destruction behaviors, and our subconscious need to be noticed, or in control, or out of the pockets of others that can deliver horrid outcomes that, ironically enough, can be also our incognito liberator.  As such displayed in Carlo Mirabella-Davis’ written and directed introductory feature film, a blend of family melodrama and interior body horror, with “Swallow.”  The 2019 released psychological thriller is difficult to digest, literally, as the protagonist struggles coping with external control issues in a seemingly perfect life, a life that has never quite felt like her own, while also encouraging an alarming new physiological appetite for what is known in the eating disorder circles as Pica.  Set in upstate New York, shot around the idyllic Hudson Valley area, “Swallow” is produced by the award-winning “Nomadland’s” Mollye Asher and “Black Box’s” Mynette Louie, who have a long history in investing into bold and interesting emotional depth tales, and is a production of the France based companies, Charades and Logical Pictures.

Undertaking the daunting task of Pica emulating is Haley Bennett.  “The Haunting of Molly Hartley” and “Hardcore Henry” actress tethers a line to the core basis of her character Hunter who has to gradually chip away portions of her blank exterior of a person subconsciously suffering from similar symptoms of Stockholm Syndrome.  Hunter very much believes in the social saturation of wifely duties at an attempt to please her bread-winning husband Ritchie (Austin Stowell, “Colossal”), constantly gathering reassurances and happiness from him.  I also like the play on words with the husband name Ritchie that speaks to his haughty behavior.  Bennett, in great detail, captures Hunter’s disfigured, uncertain happiness and wholehearted attempts to join the ranks of a proud housewife, an area mirrored by silent authority from her mother-in-law Katherine (Elizabeth Marvel, “All the Little Things We Kill”).  As soon as Hunter swallows that very first foreign object, Bennett derives true delight from the bizarre action.  From then on, blistering is away is being a slave to Ritchie’s wealthy ties as that little object, that spherical inkling of hope, gets the marble rolling down the gullet of taking back what’s hers, her life.  Bennett and Stowell finesse their characters’ relationship with a teetertotter of genuine sympathy and ingenuine gratification in what’s a blurry line of compassion or a total fake façade for the allusion of appearances.  The weakest character, for me, is Luay, the Syrian expat who fled the turmoil of homeland war and has become something of a caretaker to Hunter.  Played by Laith Nakli, Luay’s sympathy for Hunter runs deeper than her psychological disorder, and Nakli can dish out awkward, slow burn compassion with the best of them, but that connection between Luay and Hunter misses the timely mark with a blank and acute switching of allegiances gone unspoken and with inaction.  Luna Lauren Velez (“Dexter”), David Rasche (“Cobra”), Babak Tafti, Nichole Kang (“Ten Minutes to Midnight”), Zabryna Guevara, and “American Horror Story’s” Denis O’Hare rounds out the cast.

Hunter’s fixation can be compared to the likes of any other vice and soul-swallowing addiction – gambling , drugs, sex – but the very fact that it’s Pica, and on a certain level of the OCD spectrum, makes Mirabella-Davis’ script somewhat of a curious oddity as the filmmaker builds a story around a dysfunctional family and one’s own personal grasp on destiny.  Though set in modern times, “Swallow” very much has a 1950s-1960s vibe with the dynamic of the working husband and the wife stays home to spruce up the house; there’s even a particular scene of Hunter vacuuming in a 50’s-ish tea length swing dress.  Despite the story’s curious and odd nature and the stuck in time antiquated gender inequality veneer, Mirabella-Davis utilizes these aspects to shape and shed light on the more diabolical of inner detriments with Hunter’s lack of confidence and autonomy stemmed from a difficult to swallow past and a financially affluent relationship that actually disallows personal freedom.  “Swallow” is oppressive in ways as Ritchie and his family and friends attempt to squeeze every ounce of value out of Hunter with value being the unborn child amongst other things.   The psychology of “Swallow” melds past and present together to form Hunter’s dangerous method of taking over the reigns of a life she never steered and Mirabella-Davis crafts an exquisite niche thriller to encourage us to gobble up.

Second Sight Films, a label known for it’s substantial and lavish re-releases, snacks on another high profile film with their profound limited edition Blu-ray of Carlo Mirabella-Davis’ “Swallow.” The single disc, PAL encoded, region B BD-25 is presented in the original aspect ratio of a widescreen 2.39:1 aspect ratio. Since a BD-R was provided for review purposes, I am unable to comment on the true characteristics and qualities of the audio and video, but do note Katelin Arizmendi’s stunning cinematography that’s full of palpable texture to every minute piece of inedible edibles Hunter puts down her throat and the gorgeous long shots of Hunter being engulfed by the depth with the isolating forest setting that looks to be lurking in the background. The limited edition release hit shelves this past Tuesday, the 22nd, and has a ton of features to check out, including a new audio commentary by director Mirabella-Davis and producers Moilye Asher and Mynette Louie, A Personal Story exclusive interview with the director that’s seriously in-depth and passionate about his work on “Swallow,” Something Bubbling Underneath exclusive interview with producer Moilye Asher, The Process exclusive interview with editor Joe Murphy, Metal and Glass exclusive interview with composer Nathan Halpern, Alexandra Heller-Nicholas’s take on “Swallow” A Room of One’s Own, Mirabella-Davis’ short film “Knife Party,” and a rigid slipcase with new artwork by Haley Turnbull along with a soft cover booklet with an introduction by the director and containing essays by Anne Billson, Jordan Crucchiola, and Ella Kemp. Lastly, at the tail of the special features are 6 beautiful collectors’ art cards. “Swallow” is rated UK 18 and runs for 94 minutes. Bennett wins the prize for making “Swallow” a throat-clearing success and bravo to Mirabella-Davis for being brave enough with an unusual story set around an uncommon eating disorder and directing the hell out of it.

Limited Edition Blu-ray from Second Sight Films Available at Amazon.com

EVIL Strikes at the Stroke of “Midnight” reviewed! (Blu-ray / Severin)

Posted by Steven Lewis on

Teenager Nancy searches for forgiveness through reestablishing her faith in God after being dumped by her sexually active boyfriend.  When her alcoholic, police officer stepfather learns of the relationship’s abrupt ending, he moves in quickly to take advantage of Nancy while under the heavy influence of the bottle.  Escaping his grasp, she flles home and hitchhikes a ride with two men travelling South on a getaway from Pennsylvania to sunny Fort Lauderdale, but when facing trouble with small town local law enforcement after attempting to steal groceries, the three find themselves right in the middle of a Satanic cult’s sacrificial ritual that requires the killing of three women for eternal life, one a night at midnight for three days.  Held in a dog cage, Nancy anxiously awaits her turn at the bloodletting alter surrounded by the cloaked-cladded cult and their decomposing mother’s corpse  Praying to God to save her soul, little does Nancy know that her stepfather has tracked down her whereabouts, leading to a bloody showdown of one cop pitted against a family of satanic psychopaths. 

Based of his 1980 novel of the same title, “Midnight” is known to be John Russo’s heart-and-soul project that ended up suffering one mishap after another in the two years of its production and post-production until it’s final release in 1982.  Also known as “Backwoods Massacre,” the “Night of the Living Dead” co-writer Russo helms the low-budget occult slasher out from his usual stomping grounds in and around Pittsburgh, Pennsylvania.  “Midnight” showcases a story themed with a depraved sense of race intolerance for African Americans and all varieties of religious convictions to be innately false in an atheistic Russo viewpoint amongst a glorified surface level of enrapturing inhumane violence seasoned by brainwashing.  This West Pennsylvanian born and bred grindhouse exploitation found producers in  Sam Sherman and Daniel Q. Kennis of “Blazing Stewardesses” and “Blood of Ghastly Horror”) along with Donald Redinger under the now defunct Independent-International Picture Corp.

In a sea of smaller fish of Pittsburgh actors in “Midnight’s” casting tow is a larger and rougher around the gills grouper embodied by the singular Lawrence Tierney (“Reservoir Dogs,” “The Prowler”) in the Officer Bert Johnson role. Tierney’s no stranger to the horror genre, flaunting his thick New York tough guy accent that typically typecasts the veteran actor into authoritative roles. In being no exception, “Midnight” has Tierney playing a sleazy, alcoholic, police officer who winds up more-or-less unearthing sense in his old age and utilizing his skills for good to fully satisfy his character’s arc, but Tierney alone is wonderful to behold and easy to be disgusted by as he solicits his underage teenage stepdaughter with a perverted proposition. That stepdaughter, Nancy (Melanie Verlin), is the face of “Midnight’s” protagonist whose attempting to get back on track with God after a sinful bedroom relationship with an ex-boyfriend, but her plans are slighted by a brood of young Satanists keen on keeping their now long deceased mother’s irreligious convictions intact. David Marchick, George Romero regular Ted Amplas (“Day of the Dead” 1978, “Martin”), Robin Walsh, and the face of “Midnight” on many of the posters, Greg Besnack, size up as the Satanic terrible and merciless foursome. The cast fills out with Charles Johnson, John Hall, Bob Johnson, Lachele Carl, Jackie Nicoll, Doris Hackney, and Ellie Wyler.

After the success of a collaborated run with George Romero on a handful of projects, John Russo ultimately branches off to do his own creative output after their production company, Latent Image, brought on newcomers’ and the shared ideas on the direction of their company didn’t sit well with Russo – an irk that Russo still harps upon to this day, according to the special features’ new interview from the latest Severin Film’s release.  Yet, I digress into the review of “Midnight” that has feral narrative with an irregular plotted blueprint of teenager exploitation, racial injustice, and backwoods barbarians.  Somehow, Russo’s able to juggle his jotted down on a budget scrambler with a threadbare satanic family baseline that unsettlingly feels snagged in a randomizing generator spitting out scenes to see if they cohesively connect into the next.  Nancy’s traversing into the thicket of terror story cuts into and undermines more of the sibling’s unholy ritual, which the title “Midnight” becomes an important piece to the ceremony, with a subplot of the teen running away from a handsy stepfather and into the Mystery Machine modeled van-driving hands of a pair of cavalier friends on a road trip and then find themselves in an endgame of rotten luck with bad company.  The whole lead up to the two groups running into each other is suddenly dropped like a bad habit, forgoing much of the racial tensions, the youthful subverts, and even the attempt at pedophilia when the main, overarching theme of cult mayhem and religion inadequacies come to the forefront.  “Midnight” inarguably a gargantuan piece of good ole American hicksville victimization with some underappreciated manic performances by John Amplas and Greg Besnak, but there’s difficulty in shaking “Midnight’s” stark story division that leaves much to be desired.

“Midnight” is the particular video nasty that’s surpassing all of it’s other formatted counterparts with a Severin Film’s 4K scanned Blu-ray of the full uncut negative.  The 1080p Full High Definition, region free BD50 is presented in a widescreen 1.85:1 aspect ratio with a respectable color correction, but the correction sees unstable moments regressing near the cuts revealing the lifeless yellow tinge of unmastered quality. A right amount of grain, a great amount of detail, and hardly any damage to the thought-lost uncut negative proves Severin found buried treasure of the John Russo shocker. Two audio options grace the release with an English language DTS-HD 5.1 surround and an English 2.0 Stereo. While the 5.1 offers a more robust audio option of funneling individual tracks through their respective channels, I wouldn’t necessarily say “Midnight” has an overwhelming yield for audiophiles. Soundtrack comes across just enough to know it’s there, the dialogue is clean and unimpeded, but what unfolds out of clarity is the wonky foley ambience that just render solemn scenes silly. Severin offers up a new interviews under “Midnight’s” mediocre cult status with director John Russo – Making Midnight – as top bill in a lengthy discussion about his long career, his acquaintances including George Romero, and, of course, his recollections about “Midnight.” Other interviews include producer Samuel Sherman – Producing Midnight, actor John Amplas – The Midnight Killer, and special makeup effects artist Tom Savini – Small Favors – who barely remembers working very little on this film by providing pre-fabricated headshots and sliced throat prosthetics. An isolated score selection with audio interview with Mike Mazzei, an alternate title card for “Backwoods Massacre,” the trailer, and radio spot round out the bonus content inside the blackout snapcase. Prolific as John Russo may be in horror literature, filmmaking, and in legendary regards with his work alongside Romero, “Midnight” reflects poorly on his cinematic vocation and while many problems plagued production and post-production, Russo somehow managed to root out a passable working cut of crazed satanic panic.

“MIDNIGHT” available on Blu-ray from Severin!

The Earth is Healing with EVIL Intentions. “The Feast” reviewed (IFC Midnight / Digital Screener)

Posted by Steven Lewis on

Glenda is frantically planning a dinner party for seven people at her newly constructed, modern rural home in the Welsh countryside. In order to quickly prepare, Glenda hires a young waitress, Cadi, from the local pub-restaurant as a pair of extra hands, but becomes intertwined with Glenda’s eccentric and dysfunctional family and friends who are drug addicts, sexual deviants, narcissists, and greedily apathetic in respecting local Welsh traditions and lands. However, Cadi keeps her own secret, one that’ll will transform the joyous dinner party into a night of deadly retribution for all their sins upon Earth.

For a language once on the brink of extinction and only spoken by less than a million people, probably even more less than that estimate, director Lee Haven Jones’ debut feature film, “The Feast,” reintroduces the language to many of us with revitalizing the Celtic-tradition Welsh tongue by implementing it as the entire dialect for his introductory from the United Kingdom. Jones’ eco-horror clashes archaic Welsh lore and traditions with the newfangled inattentive and neglectful modernism from a script by Roger Williams, a frequent collaborator with Jones on previous credits such as the split-heritage documentary “Galesa” and the short-lived drama series drama series, “Tir,” about foreign invaders intrusively adding financial hardships Welsh landowners. Also known as “Gwledd” on script in Wales, “The Feast” is executively produced by Jones and Williams as well as Gwenllian Gravelle, and Paul Higgins under an amass of production companies in the British Film Institute (with funds stemming from the national lottery), Ffilm Cymru Wales, S4C, Fields Park and, in association with, Great Point Media and Melville Media Limited.

THE FEAST Still 1

A dinner party fit for the scum of society comes to mind as Jones rounds the horn introducing Glenda’s passively confrontational family whom all are on display for having vices unsuitable for polite society. Beginning with her sons, two brothers shamed by their parents into hiding from out of the public eye by whisking them away to their rural abode, are portrayed by actors Steffan Cennydd as the drug addicted and party loafer Guto and Sion Alun Davies as the an intelligent and sterile sociopath with a sordid past involving accusing women. There’s also her husband Gwyn (Julian Lewis Jones, “Elfie Hopkins: Cannibal Hunter”) with a sleazy demeanor and an quenchable thirst for money. The family friend Euros (Rhodri Meilir) lives and breathes squeezing every ouch of worth from the dollar signs he envisions plastered on everything to the point that his pigheadedness will eventually get the better of him. Lastly, there is Glenda (Nia Roberts) herself who is a pursuer of the finer, material things eager to display them proudly no matter the cost of bloodshed. Roger Williams’ characters are written absolutely lush with cancerous class and a vague sense of their surroundings as they stew proudly being one boldly intense personality to the next; however, they become becomes cleaved by the house party help, Cadi, with a shark-circling simplicity by Annes Elwy. Elwy barely has any dialogue as she submerses Cadi, quietly like a submarine silently churning the waters, into the family’s eclectic affairs and studying their every movement with a naïve gaze, but there is nothing naïve about Cadi’s uncomfortable silence that becomes heedlessly unnoticed by, no surprise here, the group of narcissists. “The Feast” rounds out the cast with Lisa Palfrey, the only rational head with surprising little screen time after briefly unveiling a shocking revelation about just exactly who Glenda let in her home.

THE FEAST Still 2

2021 has been the year for under-the-radar, but oh so good, eco-horror.  Among the ranks following this years Ben Wheatley’s “In the Earth” and Jaco Bouwer’s “Gaia” comes the all-things-Welsh cautionary outlier that when pushed too far, when disturbed too much, and when reeking virally infused putrid, a vindictive reaper will come calling.  In this case, that harbinger of death takes the form of a landbound spirit rooted in lore with an insidiously coy wolf in sheep’s clothing mounting a strike with subtle, rancorous fangs by smothering them with their own debaucheries and vices.  “The Feast” will take a couple of viewings to fully digest the complete airy extent of Jones’ lax editing, under the cut and paste thumb of Kevin Jones, that can infrequently blur character timelines and presence in the story, as if plot points were forced into an unsure elucidation to connect the dots.  With a simmering horror on a spoke of unsettling imagery, the editing should have slightly been more binding to tighten gray areas; instead, “The Feast” has an abstract quality third act that not only chops up scenes, but also chops up bodies influentially consumed by the already self-destructing aspects. Some time must pass, a few days maybe, to let “The Feast” penetrate an understanding as it’s one of those flicks, wrapped loosely in cultural folklore or maybe told with the assumption non-Welsh viewers will grasp, the more thought about or written about, the more appreciation the film will disclose way after the credits roll.

THE FEAST Still 3

Funny how gravitating cultural folklore and nature grow an impeccable theme of doom as if shaping mythologies and a life-growing ecosystem equate to nothing more than a foreboding sense that one day mankind will become extinct at their own hand. “The Feast” portions a slice of that ominous pie, topped with Welsh lore and gore, coming to North America theaters and digital on-demand this November 19th, just in time for America’s feasting activities of Thanksgiving. The 93 minute, unrated film will be distributed by IFC Midnight, the sister label to IFC Films, owned and operated by AMC Networks Inc. Bjørn Ståle Bratberg serves as cinematographer who options to start with the fresh-air, blue-sky landscape of the Welsh countryside than slowly guide us, step-by-step into the character delinking from the natural, beautiful world into a more menacing night of harsh darkness and fervent flame to reveal true identities. Bratberg’s dim lighting seemingly imprisons the sordid family in the new and modern home that’s like a prison with a gray brick interior and has a room of relaxation for Glenda that is noted by a guest in resembling a prison cell. The message of revenge resounded loud and clear; “The Feast” lays down coruscating repercussions in reaping the land for one’s own benefit and Lee Haven Jones’ wayward timebomb evokes an upsetting fear and tension for a dinner party finale that is surely to go way-wrong in this different kind of revenge thriller.

There’s EVIL in the Saying, No Other Choice. “Violation” reviewed! (Acorn Media International / Blu-ray)

Posted by Steven Lewis on



On the precipice of her loveless marriage ending, Miriam and her not-quite-yet estranged husband getaway to visit her sister, Greta, and husband, Dylan, at their quiet woodland and lakeside home, an area where Miriam and Greta fondly grew up together.  Also sharing a past together as high school friends, Miriam and Dylan enjoy each other’s company in a playful and quipping manner after a lifelong friendship, but after a night of drinking and an outpour of internalized emotions, Miriam slowly awakes to Dylan forcing his way inside her and is unable to stop him.  Confronting Dylan and Greta separately further strains the tense situation to the point that Miriam is made out to be the villain in her own sexual assault, sending Miriam to plot a thorough premediated revenge to not only avenge herself but also to save her sister still married to her attacker. 

Real hands-and-knees puked vomit splattering over a black tarp.  A blindfolded, naked man tied to a chair with a real erect penis saluting tall.  If you’ve never seen this Shudder exclusive 2020 released film and you’re reading this review opening fresh eyed, you might automatically presume Dusty Mancinelli and Madeleine Sims-Fewer’s “Violation” a work of pure vomit gore and BDSM pornography.   Let me quickly put your mind at ease by saying “Violation” is nothing of the sort, but these unmistakable aspects in the Canadian revenge drama are real and explicit as a deep-seeded personal choice for the writing and directing duo’s first feature length project.  Mancinelli and Sims-Fewer’s collaborated history goes back to 2017 as they together write, direct, and produce a handful of short films with a core base of dysfunctional sexual themes in “Slap Happy,” “Woman in Stall,” and “Chubby,” to name a few in their credits.  “Violation” continues the trend, providing cathartic discussion for the filmmakers’ tabooed motif at an attempt at bold realism.  “Violation” is self-produced by Sims-Fewer and Mancinelli under their production banner, the Toronto-based DM Films, in association with Telefilm Canada and The Talent Fund with financing from the executive producer line of independents, such as François Dagenais (“Ankle Biters”), and the husband-wife duo of David Hamilton and Deepa Mehta of Hamilton-Mehta Productions.

In the lead of Miriam is the writer, director, and producer herself, Madeleine Sims-Fewer, succumbing to a characterized funneling toward piteous rock bottom within her role who, from the get-go, is already in hot water with a dissatisfied husband about their trip to see Miriam’s sister. There’s rarely any happiness for Miriam throughout, even amongst the contentious heart-to-hearts with her own sister, and the little designated of joy to her is quickly squashed by the narrative’s crux and then that’s when Sims-Fewer has to about face to a deeper austere level than even before when those closest to Miriam push her away and become her worst enemies in a blink of an eye. Those mercurial enemies are played by Anna Maguire as Miriam’s fickle younger sister Greta, reteaming with her “Forgotten Man” costar Obi Abili as Miriam’s distant husband Caleb and rounding out the cast as Miriam’s alleged rapist and Greta’s husband Dylan is Jesse LaVercombe who also previously worked on the directors’ short films “Slap Happy” and “Chubby.”  Sims-Fewer and Lavercombe really deserve praise for their dedication and courage that circles back to the beginning of this review about real puke and real erection.  There’s vulnerability when totally exposed and these two actors, who have tremendous chemistry, shy very little away from the uncomfortable provocations in hard to swallow scenes of realism.  We also know where Greta stands in the whole scheme of things, but a big plot hole obtrudes with Obi Abili’s Caleb who unexplainably vanishes in the latter half of the two part narrative.  There’s an unsaid presumption that Caleb left Miriam as already rocky marriage kept spiraling down the toilet in the first act, but there was no resolution, leaving the character out in the wind and neglected from the what could have been an interesting interplay of Miriam’s obsessive plot.

“Violation” is not the typical rape-revenge thriller where the victim rises from the ashes like a phoenix and has an insurmountable, if not endless, amount of hate and determination for street justice to see their rapist or rapists six feet under.  “Violation’s” slow burn method leans toward a character study with Miriam.  Her compassionate human side commingles with her victimized treatment and anger as she’s constantly and consistently second guessing her actions or feeling the utmost, sick-to-her-stomach remorse for her actions that needed to be done in order to avenge herself and also protect her sister as noted in a parallel dream she tells Greta about Miriam sitting in the next room while her sister is unintentionally self-strangulating.  Yet, another side to this tale that could also explain Miriam’s hesitancy and, perhaps, guilt.  Sims-Fewer and Mancinelli are very explicit in Miriam’s unhappiness with her marriage and also her flirtatious wanting of Dylan, pent up by the lack of sex and joy in her marriage, and she also initiates a kiss with Dylan.  Combine those details with a night of drinking, Dylan’s firm stance, and the way the film is shot ambiguously, a pressure cooker moment builds between the characters and viewers whether what stated happened actually happened.  Now, I’m not arguing a case for rape culture or make excuses for rapists, but “Violation” tilts toward Miriam’s mental quality that has been compromised by a contentious marriage, life envy, and the preconceived notion that she’s not a good person.  Either way, what follows the inconspicuous moment is sharply horrible, a real unsettling exhibition of meaningful art. 

“Violation” is certifiably fresh and deservingly so with jarring scenes of gruesomeness, a topical theme of trivializing rape accusations, and compelling character study of one woman’s disharmonious existence in her small inner bubble.  Now, you can own it the Sims-Fewer and Mancinelli film on UK Blu-ray from Acorn Media International. The PAL encoded, region 2 Blu-ray presents the film in 1080p full high definition in a widescreen aspect ratio of 2:39:1. “Violation” embodies an engulfing nature domination of the screen through an Adam Crosby lens. No matter how big and important the moment may be in the story, Crosby’s entrancing us with the tiny embers with a close up of the camp fire or having the actors dwarfed by towering trees until the second act that compartmentalizes two antagonistic characters in the same room. The release shows no signs of deflating Crosby’s and the filmmakers’ semi-surreal, flora and fauna vision with a sleek digital recording teeming with a range of wide landscape shots, stark long shots, and super closeups. The English language Dolby Digital 5.1 surround sound captures as snap, crackle, and pop of the great outdoors; however, the dialogue, though quite clean and clearly audible, sounds a bit boxy at times. Special feature include two extras that are essentially one and the same taking up double the space on BD25 with a meet the filmmakers (Sims-Fewer and Mancinelli) talk very briefly about the genesis of the “Violation.” The second extra, the TIFF Intro, mirrors nearly world-for-world the first special feature. “Violation” has a runtime of 108 minutes and is rated 18 in the UK for strong violence, gore, sexual violence, sex references, and nudity. Viscerally intimate and ghastly, “Violation” is labeled the anti-rape revenge narrative with a close examination of trust and the unfortunate triviality of rape sure to churn stomachs and second guess the intentions of those close to you.

Own “Violation” on Blu-ray Home Video!

A Concentration Camp of Desecrated Flesh and Pure EVIL. “The Gestapo’s Last Orgy” reviewed (Blu-ray / 88 Films)

Posted by Steven Lewis on

After nearly escaping war criminal charges for his role as Commander of a bordello operated Nazi concentration camp that mistreated and murdered multiple thousands of Jewish women, former office Conrad Starker meets his lover Lise Cohen, a former Jewish prisoner of his he fell fond of during their time of occupation, at the same barbaric camp now in vacant ruin. Alone together and wandering the grounds, Lise recalls her first arrival at the camp and how the then ruthless Starker made it his mission to break Lise of her guilt-based nihilism by exacting cruel torture upon her and those close to her in camp. Commander Starker’s direct reports, a dominatrix SS officer named Alma and a sordid Lt. Weissman, serve as his deviant and sadistic right arm, assisting him in striking fear into his new pet project. While troves of Jewish women are being raped by a slew of German soldiers on leave, as well as being tortured and even tested as a source of delicacy, Lise’s alleviated guilt turns her to play Starker’s game, making her become his own mistress, but Lise will never forget the camp atrocities at the hands of the Gestapo.

Never in my life would there be the time I salivated over the thought – dang, what a poignantly awesome title. Far from a generic, uninspired appellation that has completely captured my attention, lured me in like a fish by a dangling sex and exploitation worm, is the 1977 Italian-made Naziploitation “The Gestapo’s Last Orgy.” Understanding that the Cesare Canevari written-and-directed exploitation extravaganza is fabricated fiction from the mind of the Italian filmmaker sexploitation films such as “The Nude Princess” and “A Man for Emmanuelle,” and amongst other popular genres of that particular Italian era, there still lies a contrite underlayer deep inside my bowels for knowing “The Gestapo’s Last Orgy” is inspired by a baseline of truths – aka – the rounding up of Jewish people, forcing them into work and slavery in some sort of servitude compacity, and ending their lives as many were murdered in concentration or extermination camps by incinerations while still alive; all of which are displayed in graphic detail by Canevari in his film. Also known as the “Last Orgy of the Third Reich” and co-written with fellow “The Nude Princess” collaborator, Antonio Lucarella, no words can describe the depictions of Aryan abomination better than Canevari with a display of a wide-range of depravities from the master race in this shocking Cine Lu.Ce. production that Canevari produces.

Only two main characters span the narrative’s timeline between the active war and in the post-war clampdown of former Nazi officers.  We’re first introduced to Commander Conrad Starker (Andriano Micantoni aka Marc Loud, “LSD Flesh of Devil”) in an unofficial capacity as a voice over of a heated war crime trial rages over his driving around a small village before arriving at a dilapidated camp to meet with his beautiful lover, Lise Cohen, an introductory feature film role for then model, and presently a UNICEF Goodwill Ambassador, Daniela Poggi (aka Daniela Levy, “Olga O’s Strange Story”).  From then on, the story goes back-and-forth between the camp horrors from most of Lise’s perspective and her present day melancholy strolling through the now empty camp.  Just between these two, a burdensome and destructive self-contained bubble ignites a prudent connection for a means to an end, whether be Commander Starker’s from merciless lust to love or Lise’s reversal of her exploitation to gain a survivalist’s upper hand by playing right into Micantoni’s sadistic impulses.  Micantoni and Poggi, despite their vast difference in age with Micantoni in his mid-50’s and Poggi in her early 20’s, have shuddering, knee-buckling chemistry in the more abhorrent scenes, one particular involving the fellatio act on a German Lugar.  There are other various scummy characters and if you like girls in uniform, the Doberman-loving Alma (“The Stepdaughter’s” Maristella Greco) is as beautiful as she is a gestapo femme fatale.  Greco’s domineering performance matches her male counterparts in enthusiasm but with a bonus side dish of sultry sadomasochism that can’t be forgotten as Alma whispers her viperous tongue into the camp Commander’s ear (while also sticking the blunt side of her whip into his rectum – ooph!).  “The Gestapo’s Last Orgy” is a perverse party with respectable size cast, including roles played by Fulvio Ricciardi (“Killing of the Flesh”), Vittorio Jorderi (“Gang War in Milan”), and Caterina Barbero (“Raptus”), enlarged by a grand amount of extras from German soldiers to the Jewish women creating the allusion of an inhuman love camp.

“Ilsa:  She Wolf of the SS,” “Love Camp 7,” “S.S. Experiment Camp,” “Nazi Love Camp 27,” “Achtung! The Desert Tigers,” S.S. Hell Camp.”   I’ve seen my fair share of Nazisploitation and, aside from Tinto Brass’s erotica-elegant “Salon Kitty,” Cesare Canevari’s wartime rape and ravager hails to be one of the more distressingly twisted and disturbingly beautiful entries in the exploitation subgenre.  For Canevari, every scene counts by not making every scene gratuitous.  Yes, “The Gestapo’s Last Orgy” has it’s preposterous moments where sex-crazed Nazis aggressively dominate unarmed, vulnerable women, especially when they decide to soak an unconscious naked woman in brandy and set her on fire to taste pork-like flesh; however, even in that instance of out of left field cannibalism, the atrocities are all in the name of progressing Germany in the wake of victory and to leave nothing to waste in Germany efficiency when utilizing inferior races, whether for labor or food, after Germany has conquered opposing forces.  Most of the second and third acts returns back to Earth with smaller scale plot devices surrounding Lise and Conrad locking horns in a battle of wills to extract fear from Lise’s, mostly nakeda nd suspended, fearless body.  “The Gestapo’s Last Orgy” can be said to be a film about challenging will power, enduring strength, and patience and for when the opportunity is right for the taking, strike while the iron is hot.  Or, for many, Canevari’s lopsided carnal lark can be viewed as a wicked sex fest reaped from the backs of other the people.   Canevari rides that thin line and never pushes the gratuitous full monty  down our throats.

For the first time on Blu-ray, anywhere, “The Gestapo’s Last Orgy” arrive onto a remastered in 2K transfer scan Blu-ray from UK distributor 88 Films who have crossed regions with one of their first North American releases!  Still currently banned in the UK, the stored film’s Blu-ray, remastered from the original print negatives, is region free and in full 1080 high definition, presented in a widescreen 1.85:1 aspect ratio.  The restoration is frankly flawless.  The composition of skin tones and textures and contrasting hue scheme offer a perceptible palate of every shadowy contrast and infinitesimal detail, especially in the impeccable facial diversities.  The release has offers two restored audio options:  An English dub 2.0 DTS-HD master audio and an Italian DTS-HD master audio with in-built English subtitles.  Both tracks share an ambient and soundtrack equality quality through the dual channel stereo; however the original Italian track is inherently smoother with the dialogue with accurately synched English subtitles. The Blu-ray snap case comes with reversible cover art, original poster art are in the inside along with a mini poster of the same art as one of two inserts. The other insert is a 21 page booklet brimming with stills, different country posters, and an essay from film historian Barry Foreshaw entitled Taking on the Censors: Italian Excess. All of this limited edition tangible goodness is housed under a limited edition cardboard slip cover with new art by illustrated Richard Davies. Inside the coding on the BD50 is also a work of art with audio commentaries by Italian film experts Tony Howarth and Nathaniel Thomason as well as a separate commentary with critic and author Samm Deighan. Special features also include an alternate Italian ending (rather an extension of the feature cut), an interview with Pierpaolo de Sanctis on Remembering Alberto Baldan Bembo the soundtrack composer, an interview with Luigi Cozzi in One Thing on His Mind in regards to director Cesare Canevari, and the English trailer. Movies like “The Gestapo’s Last Orgy” are completely in bad taste beyond a shadow of doubt. Luckily for me, and perhaps those reading this review, we’re a tasteless bunch of sleazy celluloid purveyors glad to see 88 Films praise Cesare Canevari’s most controversial and infamous film with a snazzy new Blu-ray treatment.

Don’t Miss Out on Owning 88 Films’ “The Gastapo’s Last Orgy” on Blu-ray!