Pray EVIL Isn’t This Cruel. “Suffering Bible” reviewed! (Sub Rosa Studios/DVD)


Welcome to the Suffering Bible, a collection of violating and gory interpreted religious allegories digging into stark contrasts of sin and piety and illuminating the darker side of these allegories with a lacerating gruesome perspective. These short stories include the internal strife of a psychopaths strong urge for forbidden lesbian companionship with the contentious, bigoted teachings of finding forever friends inside God’s eyes, a visceral performing depiction of the Incredulity of St. Thomas, an extreme mortification of the flesh, the prideful consequences with a Devil’s pact, and the murderous portrayals of lost souls needing redemption into God’s good graces.

Right in time for the Easter holiday, where Jesus Christ has risen back from the dead for our salvation, comes Davide Pesca’s written and directed “Suffering Bible” of sinfully derived tales of reverent and irreverent perfervid images. The Italian made and produced anthology that’s a contexture of stories is forged together with a wraparound story of the Adam and Eve in the Garden of Eden apologue. “Suffering Bible” begins with a title card excerpt, Tear thy neighbor as thyself, from an unknown storyteller named saamang Ruinees with a skewed version of the second commandment, Love thy neighbor as thyself, subtly denouncing the evils in popular religious culture and then slithering them, not so subtly, into the shorts of those suffering at behest of the bible. Pesca’s shock efforts have come across ItsBlogginEvil.com’s radar once before with another short framed macabre tale, “Hemophobia,” from Artsploitation’s home distributed release of “A Taste of Phobia” anthology and “Hemophobia” is and feels more commercialized with less than salutary toward mutilation and variety body meat, but the filmmaker does fly on a parallel body horror plane and has had his shorts featured alongside with fellow Italian auteur and shock director, Domiziano Cristophario (“House of Flesh Manniquins,” “Red Krokodil”) with a more rudimentary, analogue-video-feel approach. “Suffering Bible” is self-produced by his independent production and distribution company – Demented Gore Productions.

Being an Italian made cast functioning on the performances grounds of a heel budget writing up about “Suffering Bible’s” actors and actresses past credits, influences, methods and so on is proving to be a challenging task. Most of the cast is comprised of alternative, half-naked women, such as Nicola Fugazza and Mary Rubes who are the sole credited on IMDB.com. Rubes, an erotic model, becomes “Suffering Bible’s” inadvertent poster girl that graces the Sub Rosa Studio’s DVD cover and static menu as her seductively deceptive solo performance of body and genital self-mutilation is the most unsettling story revolving around mortification of the flesh. Rubes has previously worked with Pesca on a 2017 short film entitled “Fame de Vampira,” which also co-stars Beata Walewska. Both Rubes and Walewska sizzle in the Italian action scene with “Rage Killers” by director Roger A. Fratter, who co-directed “Fame de Vampira.” As you can see, a casting inner circle is starting to form, but that’s the extent of the network with Simon Rocca, Simon Macleod, Catlin Strange, Pate Douce, Paolo Salvadeo, Emilio Stangalini, Paolo Borsa, Emanuela La Neve, Chiara Digonzelli, and Marilena Marmo.

On the surface, “Suffering Bible” has a unwieldly, pigeonhole affect that places the impervious shutters around one’s peepers and thinking cap for the pleasures of gore and nudity that run continuously rampant, but Davide Pesca has a connect-the-dot vision that aims to unveil the worst of religious culture, using graphic imagery in a reverse psychological and divinity experience that’s wildly novel inside a less commercialized parameters and the more I stew on this film, the more I like it. Without this review not seeming to be a theoretical paper on Davide Pesca and the “Suffering Bible,” examples of the filmmaker using gore as the pain and suffering vessel for those struggling to be closer to God can be modeled from the first short, “My Only God” aka “Friends Forever,” in which a woman stitches herself to her now dead friend to be closer to her, as if their friendship, which was severed insinuated by the dead woman, will continue in the afterlife. Same can be said about the last, if not more potently gristly, short, “The Redemption of Last Souls,” where a druggie, a terminal ill person, and a homeless man who has lost family connectivity have nothing left to lose, have lost faith, and seek redemption through being chair strapped subjects of a snuff film. While “My Only God” and “The Redemption of Lost Souls” caters to the barbaric rite of celestial passage, Davide Pesca’s specialty falls more within the lines of body horror as the filmmaker has saturated himself in the infatuation of the Body Modification culture, reflected in his “St. Thomas” and “In The Name of The Father” that include Doubting Thomas reaching protractedly into a crucified Jesus’s side slit and include the extreme mortification of the sinful flesh – eyes, breasts, and clitoris – by a devout devotee.

“Suffering Bible” is a throwback moxie livid on sin and body destruction and it’s a title coming to you on DVD home vide like a disastrous, break faith, miracle from SRS Home Video and MVDVisual. Though listed as a retro release by SRS, “Suffering Bible” released in 2018, shooting over the course of a few years prior more than likely, with a combination sepia-color approach and the result outputted a strained and digitally cursed image of a widescreen, 1.78:1 presentation that suffers from severe compression artifacts in conjunction with digital interference. The errs are absolved by the very label of a throwback “erotic art house horror” gracing the retro, faux-VHS DVD back cover. The single channel stereo has limited flexibility with some ostentatious, if not laughable, Foley work. Aside from a little dialogue in two of the shorts, “Suffering Bible” takes a vow of silence and speaks volumes in actions alone; this creative choice, along with some probable glitch art, saves much of the technical woes already plaguing Pesca’s stain on profane. The robust grunge-brood style of OKY’s prolong guitar distortions, delicate strum and percussion echoing, and reverse melodies bedazzles in a cathartic relief that no dense, run of the mill metal band is attached to the soundtrack. Special features include a short interview with Davide Pesca, which turned out to be more of a behind-the-scenes look at handful of shorts for the film, a lengthy ultra violent and gory showreel for Pesca’s “Tales from the Deep Hell,” and SRS trailers. More grimly poetic than sleazy gore-porn, the book of the “Suffering Bible” can open eyes to the unsettling infernal of holy virtue with transfixing horrid death rooms.

Shock, gore, profane! “Suffering Bible” DVD has it all!

Adolescence isn’t Innocence. Adolescence is Evil! “We” reviewed! (Artsploitation Films / Blu-ray)


Four teenage boys and four teenage girls decide one summer to live free, without inhibition, and to make as much money as possible. Discovering an abandoned caravan in the middle of nowhere, they set up their home away from home where doing what they want, and who they want, becomes a way of life. Sexual freedom and adolescent independency quickly leads the friends down a path of miscreant wandering and sordid pornography and prostitution. When one of the teens accidently dies, four accounts of what happened are told aloud to the court and with each version, the truth becomes indistinct amongst the slander, exploitative sex work, and their anarchist ways that surround a seemingly corrupt politician.

Debased youth bored with the common fabrics of society stitch their own downfall into extreme moral degeneration in Rene Eller’s 2018 dramatic-thriller from the Netherlands entitled “We.” Also known as “Wij” in the Belgium tongue, Eller tackles the cinematic adaptation of an Elvis Peeters’ novel of the same name from 2009 with not only directing a compelling and frightening image of idle hand youth, but the filmmaker’s also credited as penning the non-linear script told in four chapters that highlight four out of the eight teens’ versions of events and how that fateful summer not only saw their ethics become shattered, but also their close-knit friendships. Eller also co-produces the film, working alongside production companies Pragma Pictures and New Amsterdam Film Company.

“We” consists of a young cast, in age and in experience, bred from the Netherlands and though virtually credit-less, powerful performances from the lot all around that touch not only the venereal stimulators, but also reaches the twisted knot inside the gut of how being human equals being depraved. The four chapters begin with Simone, a young man smitten by the Femke (Salomé van Grunsven) who becomes a catalyst for the trial, played by an Anton Yelchin lookalike, Tijmen Govaerts. Govaerts gleams in Simon’s adolescent jubilee of love, sex, and carefree attitude. His story is followed by Maxime Jacobs’ Ruth, a 16-year-old who can’t seem to step beyond the line into total reckless abandonment, Yet, Ruth’s game for risky her own body to gain approval from her friends and for her shadowed love for Simon. Jacobs gapped teeth act as imperfect perfection upon her slumping figure sheathed in plaid, screaming purity inside her outcast shell, but Jacobs proves she can be more naughty in her character than that of her co-stars. Liesl’s third chapter paints a more grotesque picture of her friends summer. Pauline Casteleyn acts in the role of Liesl, an aspiring artist with that tough inner and outer shell Ruth aspires to but ultimately lacks. Casteleyn can cast a deadpan stare with the best of them that offers more of a chilling vibe off of Liesl, but neither of these roles could outwit, out-dominate Thomas. Aimé Claeys concludes the fourth chapter as the ringleader of the friends, or, more accurate, as the pimp and the kingpin. Thomas’ manipulate hand fosters questions about his past left purposefully open for a subjective opinion on whether his actions were that of his own boredom or being pushed to his limit by external forces. “We” rounds out with Friso van der Werf, Folkert Verdoorn, Laura Drosopoulos, Lieselot Siddiki, Gaia Sofia Cozijn, and Tom Van Bauwel.

Let me start off by saying that when the teens’ entrepreneur pornography ambitions comes to fruition, these reviewers’ eyes widened at the surprising site of explicit penetrations and fellatios; however, the unexpected hardcore isn’t the act of our already very naked actors who probably stood out for stand-ins as the story leads the friends to think of using masks for anonymity and all explicit scenes of sex involve masked performers or implied scenes are angled just right from the cruel and smart tactics of Rene Eller and cinematographer Maxime Desmet. “We’s” unreserved sexual boot up the censorship’s tight behind is this junkie’s drug of choice that gets the blood pumping in all the right places; yet, “We” garnishes a heavy topical subject serrated with generational and societal gaps of corrosive virtue and speaks in volumes of what entitlement entails for a body of minors spoiled by the very community that either nurtured or tormented them and then, finally, turn on them all, parental or not, with harsh repudiation. As a sincere compliment to director Rene Eller, “We” belongs in the maladjusted family tree that also bears the rotten teenage fruit of Larry Clarks’ “Kids” and Catherine Hardwicke’s “Thirteen” and harks back to the Golden Age of Dutch Cinema with the Dutch Sex Wave from the 1970’s which produced controversial erotica with “Blue Movie” and “My Nights with Susan, Sandra, Olga and Julie” from Scorpio Films. “We” has a friendly look and feel of a 70’s film despite modern devices, making the resemblance to the Golden Age that much striking.

From the Netherlands’ festival circuit comes the highly engrossing, explicit drama “We,” distributed stateside by the Philadelphia based Artsploitation Films onto an unrated director’s edition Blu-ray home video release. Presented on BD-25 in full HD and in a widescreen, 2.65:1 aspect ratio, impressive textures flourish every inch of skin of the actors and in the panning ariel shots, which are, at times, hard to obtain. Despite some early on aliasing during the opening scene and a bit of warm washed coloring that doesn’t pop with a colorful hue range, I’ve still become satisfied with the end result that sells the illusion of Summer (you can see the hot breath during some outdoor scenes), the immense use of natural lightening, and the skin tones announce a fresh feel for the flesh aplenty. The Dutch language DTS-HD Master Audio mix holds nothing to ill speak of with a rendered clear dialogue, ample range and depth, and subtitles that sync fine with clear delineation and no mistakes. Other than a static menu, the only other bonus on this feature is the explicit reversible Blu-ray cover that displays the bare ass(ets) of half the cast from one particular scene. There’s also the PG cover that you’ll see below to not offend any sensitive souls. Coinciding with being a great story, “We” is also an important film of human callousness hidden within the prospect of free love, an age-old infiltration and exploitation concept captured by Rene Eller’s subversive eye and Elvis Peeters sage mind.

“We” Available for Artsploitation Films!

 

Writer’s Block is a Fictional Author’s EVIL! “Blood Paradise” review!


Flustered about the severe flop of her latest book, crime novelist Robin Richards encounters writers’ block as a result. Losing inspiration in the big city with her droll boy-toy, her publisher recommends a visit to the scenic Swedish countryside as a change of pace that’ll remove her out from the comfortable surroundings and, hopefully, begin to craft new ideas for a rebound book. Totally out of her element quartered inside a farm residence, Richards can’t help to investigate her peculiar hosts and a chauffeur, a super fan who is besotted with her while his wife voices her utter disdain for the writer, but their odd behaviors stimulate inspiration for her work beyond her ability to observe that something is dreadfully and dangerously wrong with them.

From a title that can be interpreted as an oxy-moron, “Blood Paradise” spills onto the screen as a sexy suspense-thriller with pinpoint-peppered dry comedy. The Swedish bred film is directed by Patrick von Barkenberg, who also has an important-minor role contribution to the narrative as well as co-written alongside the film’s lead, Andréa Winter, that proposes total control over the juxtaposition of not only the sane versus the insane, but also enthralls with a crime storyteller from the city thrust into her own calamitous tale of murder on the rural fringes. Barkenberg and Winter have poised chemistry weaving a story that’s mostly building the bizarre attributes of characters with even Robin Richards’ pooled into that group being a stranger in a strange land; the filmmakers’ past collaborations of short films, including “A Stranger Without” and “A Little Bit of Bad,” firmly establishes them as being the right kind auteurs for the job.

As stated in the above, Andréa Winter stars as Robin Richards, an adventurously alluring writer willing to try anything to get her career back on track. Winter, who is also an electro indie pop singer in Baby Yaga, is as stunning at her performance as she is in her natural beauty with a role that tenaciously exhibits her uneasiness with the locals and their bare necessities while also not being afraid to bare nearly all herself in compromising positions and places. While Robin is most solitary in conversation as she is interactions with other characters, there’s great dynamic contrast with Hans. Hans Bubi and, yes, if you say it out loud, a definite nod to a memorable line from “Die Hard.” Played by Christer Cavallius in his sole imdb.com credit, Cavallius’s wide-eyed and big smile below his shoulder length hair makes him a comical to a point and when you add Hans’ current hell of a marital status with a potted plants devoted woman and his mental blocking obsession with Robin Richards, the overly flawed and desperately optimistic character has hopes and dreams from a slim chance opening that he is hesitant in completely seizing, though we, and even perhaps Hans himself, knows the outcome if he took the risk. Another character highly involved in Richards’ circle of exchanges is with the farmer, Rolf, played by Rolf Brunnström. Rolf is a seriously complex character, an irresistible mystery to the author who spies on his enigmatic tasks involving a locked barn with windows covered with plastic. Rolf’s detached and impassive with his wife’s death that looms throughout the story and Brunnström, a middle-aged man, turns out to be more than his simple life implies. “Blood Paradise” remaining cast includes Martina Novak, Ingrid Hedström, Ellinor Berglund, and Frankie Batista.

Finding the comedy in a film like “Blood Paradise” might be a task suited for people with a dark sense of humor, but the quality is present and can be compared to the offbeat nature that Eli Roth subtly nurtured in his breakout flesh-eating squeamish-er “Cabin Fever.” Dry and restrained, the comedy is dialed down to a low-lying hum in “Blood Paradise,” honing in frequently on the sexualized suspense that’s audience attractive and runs parallel with Robin Richards profession as a crime novelist who pens tales involving gimp-cladded deviants, and the story simmers to a boil, reducing down story intricacies into an unraveled macabre of things once dead are now very much alive in transcendence, just like a good crime narrative should unfold.

Gripping with toe-curling tension, “Blood Paradise” arrives on a Blu-ray home video courtesy of the Philadelphia based distribution company, Artsploitation Films. Presented in HD, full 1080p anamorphic widescreen, 2.35:1 aspect ratio, Artsploitation Films has a remarkable looking release on their hands that’s soft where intended and detailed where necessary, registering a vast palette of rich colors thats typical with digital films recorded with an Arri camera, as listed on the internet movie data base. The English and Swedish 5.1 Dolby Digital surround sound has an equally good and clean facet of range and depth for a rather subdued thriller that’s more mystery, than panic stricken. Soundtrack by Andréa Winter adds a bit of lively-atrocity synth that doesn’t push through enough to be a factor in it’s assimilation between the ambience and dialogue tracks. Bonus material includes three deleted scenes and two music videos by Baby Yaga – “Dreamer” and “You and Me” – that feature artistic renders of the film. “Blood Paradise” is no tick sipping on sangre-sangrias on a beach somewhere. Patrick von Barkenberg’s “Blood Paradise” captivates in the inexplicable without sheering away from fraught character contexts while still maintaining a healthy dose of sex appeal and blood.

“Blood Paradise” available now for purchase!

Bikini-Cladded Revenge on a Small Time EVIL Crime Syndicate! “Rondo” review!


Disturbed and dishonorably discharged Paul finds solace at the bottom of a glass bottle. As Paul falls deeper into dire depression with drugs, the drink, and cigarettes, Jill, his sister, lays down some ground rules while he crashes on her couch. At her advice and insistence, Jill schedules a psychological appointment for him and the doctor recommends sex as a release and not just any old sex, but the behind-the-doors, underground, Freak-a-leak kind of kinky encounters. Paul joins two other men in a high rise condominium, receiving instructions on how to treat and mistreat an affluent man’s wife, but Paul becomes the witness to an organized murder party and flees for his life, barely escaping the clutches of his captors, and returning home to his sister Jill to tell her everything. The only problem is, the killers know his address and now their business becomes a family affair loaded with straight razor slashing, crowbar bashing, and automatic weapon firing mayhem.

“Rondo” is an icy revenge thriller with bullets and blood galore from writer-director Drew Barnhardt. The “Murder Loves Killers Too” director reinvigorates a pulp noir approach into the independent film market that invokes woman power through all sorts of masculinity muck. Breanna Otts and Gena Shaw flourish as the anti-leading lady by wielding large assault rifles and being the kingpin of killers amongst a bunch of kneeling and broken men. “Rondo” is also about family, believe it or not. Whether bound in endless love or broken beyond repair,the theme of taking care of your own blood comes to the forefront, but before you go showing your kids, “Rondo” takes family to hell and back and then back to hell again for a rough ride of riveting vileness and hard-on revenge.

“Rondo” doesn’t necessarily have a lead character. In act one, the voice over utters over the pitiful existence that is Paul (“Galaxy of Horror’s Luke Sorge) who, at the persistence of his sister, tries to step outside the path of destruction by stepping into a sex den at the advice of a radical, and very pregnant, psychologist. The voice over is curiously used since pertaining to the fact that the narration, provided by Steve Van Beckum, becomes nearly Paul’s inner monologue by the end of his tenure. Act two transitions into a father and daughter reunion and then revenge plotters. No voice overs accompany the two, but Jill (“Westworld” and “SWAT” actress Breanna Otts) and her father Sam (“Rage of the Mummy’s Michael Vasicek) have an exposition fest involving what ifs and to dos. Sam felt to be a wasted character; an escaped VA patient returning to his children for revenge that doesn’t quite grow from there. On the other hand, Jill extends into act three as the sole protagonist and her thirst for vengeance is clunky and clanky, stirring up a halfcocked plan in the belly of the beast that happens to work in her favor and in our favor too as Otts ends up in lacy underwear in an episode of boobs and bullets. “Rondo” rounds out with Ketrick ‘Jazz’ Copeland, Reggie De Morton, Gena Shaw, Kevin Sean Ryan, Grant Benjamin Leibowitz and introducing Iva Nora in her first role and first nude scene.

Conceptually, Barnhardt’s tale of ravage savagery rouses out from the cobwebbed conventional anecdotal pathways and while “Rondo” might be a tale that’s rarely been told, apprising the plot into maturity bid Barnhardt with a far more difficulty, leaving to squash the answers to far more questions at the roll of the end credits. One of the more puzzling questions is why does the voice over only narrate for Paul? Kicking off with a voice over that explains Paul’s downtrodden life, then transitioning quietly into Paul’s inner thoughts, and then disconnected completely that literally leaves a punctuation question mark hover just over our scalps. There’s also the question of how deep this criminal organization roots in society? How did Cassie, wife of the barbaric boss Lurdell, get to assimilate herself into positions of power to influence poor souls to become meat for the grinder.

Artsploitation Films distributes an American bloodbath with “Rondo” onto DVD home video. The not rated release is presented in a widescreen, 1.77:1 aspect ratio, and despite some banding, the picture quality spruces a fine package with natural lighting and little-to-no filter use. The Dolby Digital 5.1 Surround Sound pitches perfectly without some much of a hiccup. Range and depth are fine, though the film isn’t necessarily a heavy hitter with action, and the channels are level amongst the LFE gun blasts in the cap your ass finale. Bonus features include a director’s commentary, deleted scenes, selected music commentaries with composer Ryan Franks, and an exhibition of the gritty pulp cover art and lobby cards set to a musical score. “Rondo” is a cult indie classic through the venomous teeth of white-collar Americanisms and a torrent of human immoral inclination that relentlessly shows no mercy scene after scene.

Own “Rondo” on DVD today!

Evil Takes Form in the “Terror 5” review!


In the wake of a tragedy that resulted in the loss of life, a small Argentinian funeral procession progresses in tandem with the court hearings of a supposedly corrupt politician, the governmental figurehead indirectly responsible for the deaths of innocents. When the verdict of not guilty surfaces over the news media waves, the grief-stricken family and friends, praying at a cemetery memorial, shrill in anguish their displeasure that becomes a calling for the undead to rise up and exact revenge toward the capital. In the midst of the resurrecting chaos, others simultaneously face terror in other forms such as exacting sadistic punishments in a backwards universe of role reversals, the elaborately ill-fated plan of swapping girlfriends on the streets of the city, a night of sordid carnalities at a hotel becomes a night of horrendous violence, and a group of candid friends indulge in a snuff film comfortably and safe inside an apartment, but an evil is slowly boiling to ahead right before their very unsuspecting eyes.

“Terror 5,” a title that one would assume on first thought that five horror icons team together for utter slaughter of hapless cheerleaders or, perhaps, clash in one epic villainous mêlée of monumental proportions, but the film is actually an Argentinian anthology of urges and terror and for the record, if “Terror 5” was a collection of the top five horror icons, this reviewer’s enlistment would include Michael Myers, Freddy Krueger, Pinhead, Predator, and Charles Lee Ray aka Chucky. Jason Voorhees is a bit of a mama’s boy, if you ask me! Let’s get back on the topic of the brothers Sebastian and Federico Rotstein’s helming of an interweaving, anthological horror film from 2016. The Buenos Aires born siblings collaborate with the “The Vampire Spider” writer, Nicholas Gueilburt, to construct five tales that plant the seed of danger from the sordid impulses that motivate impure, and sometimes supernatural, malevolencies. The five tales digs into the depths of quivering human interaction and the immorality of their choices that inevitably leads them toward their own gruesome destruction.

The complete South American cast will be more than likely unknown faces to audiences of the United States, unless broadening your film library is a must-do compulsion. In which case, Gaston Cocchiarate is a familiar face who had a supporting role in Gonzalo Calzada’s devilishly feministic empowering thriller, “Luciferina.” Cocchiarate’s character goes from being a naïve college kid in “Luciferina” to a bullied simpleton that gets pushed too far by his peers in “Terror 5.” Nicknamed Cherry for his plump figure and, more likely, his untapped virginity, Cocchiarate’s character seems like a nice enough guy, but powerful when provoked and Cocchiarate embraces the oppression punishment-to-maniacal psychosis well. Another fascinating actor to look for is Walter Cornas as the KISS-cladded Juan Carlos on a night of costumes, drugs, and booze during a small get-together. The dirt-bike riding jokester has a hard on for it all: booze, women, Cherry, and even snuff porn. The character is brutally charming like that one asshole guy who always manages to get with the girls no matter how much of a douchebag they are and the character is very relatable to us all because we all know someone like Juan Carlos. Under the black and white makeup and reckless cruelty is Walter Cornas whose versatile demo reel on IMDB.com and performance in “Terror 5” gives a great insight into his vibrant character performances that make him so enjoyable to behold. Cocchiarate and Cornas stand out with the better and most chilling performances amongst the remaining cast that includes Augusto Alvarez, Juan Barberini, Nai Awada, Magdalena Capobianco, Cecilia Cartasegna, Rafael Ferror, Lu Grasso, Flavia Marco, Jorge Prado, and Marcos Woinsky,.

As far as anthologies are concerned, “Terror 5” favors a string of scary stories to be strung together being each a cataclysm spun from the negativity produced by the outer story that includes blazingly blue-eyed revenge zombies and the result is, on the surface, quite convoluted. What doesn’t help “Terror 5’s” case either is that the Rosenstein brothers decided to interwoven all but one of the stories together, creating a multi-narrative mesh. Instead of individual chapters or title card introductions, the stories have a lattice blueprint and the audiences are forced to go back and forth between the dissimilar story lines that, on initial viewing, would be assumed that one story is a fraction to the other. The stories also didn’t have that killer kick in the pants that makes you go , “WTF!” Each tale ends rather abruptly, leaving morsels of the carnage to be further imagined rather than be digested in full and I’m sure, though couldn’t locate any background about it, that these tales are based in part of an Argentinian, or even in a broader South American sense, contemporary urban legends that are unfortunately not explored in detail. If approached positively, the human thirst for flesh, morbid curiosity, and unflinching corruption is well laced throughout and that’s the real terror behind the surface level macabre.

Artsploitatoin Films and Reel Suspects introduces Sebastian and Federico Rotstein’s “Terror 5” onto DVD home video presented in an anamorphic widescreen, 2.39:1 aspect ratio. Director of photography Marcelo Lavintman works in the shadows with a very cloaked and dark alleyway approach. Some minor digital jumping in the blacks that’s underwhelming at best and in more lit scenes, clarity reigns with promising detail and natural coloring, despite not being variably hue heavy. The Spanish language 5.1 Dolby Digital surround sound has prominent dialogue and a balanced, foreboding score by Pablo Borghi, but the tracks lack a range and a depth magnitude and, essentially, all the sound is right in front of you without the bulk of the surround sound too enhance the effect. English subtitles are available and though generally translated well, there were some slight typos. The only bonus material included is the trailer. As far as Argentinian horror anthologies go, “Terror 5” leads the pack with directors, Sebastian and Federico Rotstein, pulling from familiar filmic influences and gutter cravings with turnaround consequences and mortal coil tussles. Schematically, “Terror 5” has profound leap frogging narratives that challenge the conventional way we view anthologies or overall films, creating a bit of havoc on the tale or tales at hand.

Argentinian horror anthology available to purchase at Amazon.com