Evil Is Unearthing from a Bigotry Bunker! “Honky Holocaust” review!


In an alternate universe, Charles Manson didn’t get incarcerated for his heinous cult murders. Instead, the sect creating and drug taking Manson goes deep underground with his acolytes after committing a vile crime that becomes the foundation of a nationwide race war. Manson’s followers preach hatred and distain for the blacks and rape their own white women to produce an inbred underground white community. When Manson falls ill and dies a violent and horrible death, he leaves behind a sole child, Kendra Manson, in the most intolerant racist hands of Dan who raises Kendra with a flood of mind altering hate for non-whites. When Dan receives a subconscious message from Charles Manson to surface from the bunker and rule the world with white supremacy, they’re met with a surprise that black people are the majority and whites, known derogatorily as albis, are the lower, socially mistreated class subjected to the same race discrimination during Charlie Manson’s above Earth reign. Separated from her bunker family, Kendra becomes lost in what she perceives as an upside down world, but has is opened her eyes to the real subject matter on race?

“Honky Holocaust” is without a single doubt a Troma masterpiece. Director Paul McAlarney’s shocking bizarro world of racial social commentary is just not another run-of-the-mill message of inequality, but an contemplative insight of role reversal. The mirroring of the nastier portions of race discrimination from 1950s to 1980s has been set in the present day and extends beyond the usual racist America regions, that are typically Mississippi or Alabama, with the film set in San Francisco; perhaps the most tolerable and friendly city in the world set in the most liberal state that is California. While McAlarney’s spews the carnage and the vulgarity that’s very Tromaville worthy, the Boston director has written a thought provoking concept that’s masked in dick jokes, sex and drugs, and a girth of gory practical effects.

Maria Natapov takes the lead with her misadventure role as Charles Manson’s bunker daughter, Kendra. Natapov acts dumb and plays stupid when face-to-face with the very race her character’s been bred to hate for more than 30 years while maintaining Kendra’s naivety through the heat of racially tension moments. The restaurant scene comes to mind that’s a real eye opener in where Natapov walks amongst a barite group of black patrons and the scene sells the powerful reversal with Natapov’s unflinching performance. “Honky Holocaust” has a romantic side when Kendra comes under the safe haven wing of the racially suppressed Lucius, played by softly charming Constantine Taylor, and they team up to stop Kendra’s stepdad Dan, a role fitting for the film’s producer Lucas Fleming. When Flemings on screen, racist ooze just seeps from his portrayal of Dan, even if Dan didn’t sport a gaudy swastika belt buckle. Other characters pop in and out, some memorable, some not. Krisoula Varoudakis, Mauricio Viteri, and Thomas Delcarpio costar.

McAlarney’s 2014 offensive exploitation amusement ride starts gnarly enough with the director going through a monologue about how to make a film surrounding racism; all the while sitting on the can. Through his comfortable exposure of his manhood and the exaggerated flatulence filling the audio air, he painfully yells into a microphone about the birth of his idea as he discharges chocolatey waste into the toilet and sends off an unforgettable farewell by reaching behind him, scooping up some backside waste, and licking it into his mouth with the statement, “that’s some good shit” quickly following. McAlarney has successfully set the tone for “Honky Holocaust.” Troma’s renowned celebration of their bread and butter of tasteless cinematic garbage (which Its Bloggin’ Evil adores) certainly incorporates this social commentary gem, but McAlarney is more than what meets the eye. Beyond his thought provoking story, McAlarney has a talented production eye. With a micro budget being filmed mostly in the streets of San Francisco, McAlarney was able to construct an alternate reality and leaving behind a flawless perception that whites are truly the scum of the Earth. I’m not totally onboard the McAlarney train, however, as I became a bit lost in the character development near the end, especially with Kendra Manson, but I did like the path the character took, mowing down and massacring the primeval in order to rebuild a better future for all.

Troma Entertainment and CAV Distributing proudly introduces Bloddy Hammer Films’ “Honky Holocaust” on high-definition Blu-ray via a MPEG-4 AVC encoded 1.78:1 aspect ratio. The image quality is a mixed bag as none of the quality is consistent, familiar to other early grindhouse imitated features, but the unbalanced hues and, sometimes, lack of popping colors battle back and forth for quality domination. Early on, noticeable aliasing can be caught during the lynched scene, leaving less defined objects and creating chaos in the pixels. As the film progresses, outlines and textures get better, more consistent. The dual channel LPCM audio mix suffers horrible as the dialogue track is sorely underfoot with the ambient LFE overlaying place it’s robust boot right on the dialogue’s neck. Soundtracks are inconsistent as well, being too loud for comfort or being too loud for the rest of the implemented tracks who become lost. Bonus features have substance with a “Behind-The-Scenes Honkumentary” that’s a twitching handheld camera look at some of the film’s best scenes, deleted footage labeled “exterminated scenes,” and a video containing director Paul McAlarney pledging his allegiance to Tromaville. There are the usual Troma bonus pieces about protecting the environment and the film’s theatrical trailer along with Troma’s president, Lloyd Kaufman, giving his usual satirical introduction. The obscenities in “Honky Holocaust” mingle regrettably well with story’s racial social inequalities in a chaotic melee, pointing out the senseless violence and asinine nature in social jest. Paul McAlarney knew what he was creating from within the belly of the beast of his darkest comedy, even if the punk parader’s LSD-inspired trip through hell seems misconstrued on the surface.

“Honky Holocaust” available now at Amazon.com!

Half-Assed Evil Exorcists! “John Dies at the End” Book Review

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Jason Pargin, under the pseudonym name David wong, is a major success stories that inspire all of us hopeful writers. Pargin, a low on the totem poll data entry administrator, is the brains behind the insanely clever, notoriously witty, and devilishly deranged novel “John Dies at the End.” Without even an English degree to his name, Pargin wrote short stories that turned into a full fledged novel solely by word of mouth from total strangers. Eventually Pargin was contacted by Phantasm director Don Coscarelli and as soon as Pargin blinked, a movie was adapted from his story and the rest is hisory.

“John Dies at the End” revolves around David Wong, a video store clerk whose life isn’t exactly that excited, but when he discovers the “soy sauce” from a homeless Rastafarian Wong and his friend John are sucked into the massive plans of an alternative reality species that has their sights on enslaving humanity in the name of their leader “Korrok.” Only Wong and John can see the truth because of the “soy sauce” and while others live their daily lives, Wong and John prepare for battle the only way they know how – with boom boxes, flame thrower water guns, and Molly the bomb eating dog.

Pargin’s novel will be a treat that you’ll never ever in your life read something similar like it again. Somehow able to paint a perfect picture with his colorful use of dictionary, Pargin certainly knows how to make silly scary and fun. The pages just kept turning as if I was hooked on the “soy sauce” and was warped, like a “Star Trek” hyper drive, into an other world universe. The randomness of scenes with Wong’s first person version of events can only be described as batshit nuts with a hint of nihilism. Once you add his friend John into the mix, it’s a whole different story as John is a colorful character with classically hilarious one liners and a mind like a 13 year old boy ready to take on the world.

I’m one those people who watched the Don Coscarelli movie first before reading the book and I did this before with Stephen King’s novel The Mist and so far, I’m not disappointed with my ass-backwards way of doing things. Of course, the novel will always have more than a movie adaptation, but damn did Coscarelli bring Wong’s world to life and light and I do believe that the writings of Pargin are so vivid and clear that this made Coscarelli’s job easy.

“John Dies at the End” is a must read. It isn’t the latest best seller as the book’s been out since 2007, but this horror comedy will make you laugh and thrill you into thinking about the possibilities of our universe.

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From the Evil Mind of Don Coscarelli! John Dies at the End review!

jdateposterIf you did a retrospective analysis of Don Coscarelli’s film career and try to pinpoint Coscarelli’s area of specialty with in the realm of horror, you’ll wind up scattered all over the place unable to achieve an exact position of Coscarelli’s sub-genre schtick. His latest (and greatest) film endeavor John Dies at the End embarks on being Coscarelli’s next longevity cult hit. Unpredictable and captivating forces you to forget that this indie movie bares no no-named stardom and borders the edge of “crinchable” special effects, but the story grabs you, shakes you, chews you up, and spits you out wanting to know more while leaving you wondering what the hell just happened…in a good way.

Paranormal exorcists and best friends David and John are bound by the supernatural Soy Sauce, a jet black living drug that give David and John the outer body experience and is the source of their powers to fight evil. The Soy Sauce has a ying-yang affect and drive them down a path of sends them into another dimension to face off agains’t a monstrous being that wants to absorb their dimensions knowledge by digesting everything they know!
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John Dies at the End won’t scare you. There are no thrills or chills. What it will do is give you a wicked acid trip. Where bits of meat conjure together to become a meat monster, where door handles morph into large veiny penises, and where eye balls burst out by soul devouring gnats! Only Coscarelli’s mind could be this warped and that warp sense mixture of humor and horror keeps our attention waiting to see what happens next. This mixture also drives the film which is a definite positive, but can also be a negative.

Coscarelli’s film feels all over the place that makes the concept hard to grasp. The non-linear plot places characters in our conscious in disorderly manner without any grounded statuses. By the end of the movie, I start to wonder if there are pieces missing from the story boards. The concept of time doesn’t seem to exist and that might be part of the film’s facade as the drug-fueled outer-body experience.

Chase Williamson and Rob Mayes are great as Dave and John. Dave’s a passive person with a sarcastic attitude but willing to stand John’s frantic personality. John, as I said before, is a bit spastic and has that carpe diem attitude. Their contrast draws them together to form a powerhouse team. Tack on Clancy Brown as a co-worker of their trade with a sleazy white hairdo and Paul Giamatti as a skeptic feature reporter and you have great talent supporting the the two leads who are already phenomenal as your slummy ghostbusters. Doug Jones (Hellboy) makes an appearance whose character doesn’t have enough time screen in my opinion as an other dimension mystic. Lets not forget the cameo of Angus Scrimm as a demon priest – fantastic.
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John Dies at the End will smack you in the face and you’ll smile at the end. You’ll definitely get some laughs because this horror comedy is nearly in the same vein as the Bubba Ho-tep with the anal soul sucking mummy. Magnet Releasing brings you the next Don Coscarelli hit and you can purchase at Amazon.