Snuff is the New EVIL Industry Fad! “Snuff Queen” reviewed! (Dark Arts Entertainment / DVD)

“Snuff Queen” on DVD from Dark Arts Entertainment!

Snuff, a hot commodity amongst patrons of the black market and dark web provides real violence and real death for real morbid viewers.  Laws are challenged and circumvented by consent of women willing to die for money through various ways of asphyxiation in front of the camera and sold under the controversial snuffing genre.  A Ten-minute window of revival separates the actors and actresses from permanent brain damage or certain expiration.  A snuff performer interfaces with the complexity of thrills and easy money that counterbalances against relationship troubles, social stigma, and the constant threat of actually dying hanging over their heads, or more literally, pressed against their throats.  A handful of willing performances lets a documentarian illustrate their niche profession, lifestyle, and personal struggles to the world with included behind-the-scenes footage on set and in their private spaces as they put on their line mind, body, and soul have to survive.

Those who seek out snuff, even if represented in a sensationalized, fictious way to glorify gore, violence, violence against women, and a fascination, obsession need to satisfy murder lust, likely need to have their heads thoroughly scoured for the tiniest ounce of sociopathic tendencies.  Films like “Effects,” “Faces of Death,” “8MM,” “A Serbian Film,” and the like all contribute to that black desire of control of another person’s existence and getting off perversely on the sadism.  Films like Sean Russell’s “Snuff Queen” are nothing like those more aberrant productions of cruel reproductions.  The 2023 pseudo-documentary and mockumentary hybrid began in 2008 with AVN interviews with porn stars and their take the matter of snuff or overall rough sex.  Shelved for many years because no producer at the time deemed the material worth making a movie out of it, Russell is approached by Dark Arts Entertainment’s Brian Yuzna and John Penney to finish the film with new scenes based off the 2008 script but cut most of the comedy out for a darker tone.  David Navarro producers the film.

Previously shot 2008 AVN interview footage with some of the then biggest talent in the industry, such as Sasha Grey, Bree Olson, Stormy Daniels, Jenna Haze, Stoya, Faye Reagan, Jesse Jane, Belladonna, Aurora Snow, Jessica Drake, Sunny Lane, and even Larry Flynt, is cut into snippets of a montage as they comment on death and sex in various contexts.  The series of comments and quips puts into perspective individual limitations, mindsets, behaviors, and an unfiltered truth underneath the layers of makeup, fake breasts, and forged happiness in the adult entertainment industry masked in glitzy red lights, supersized sex drives, and a prospecting tease of getting laid.  As the 2008 prologue interviews ends, the 2023 interviews begin with mostly scripted talk following the daily lives of a handful of snuff performing women, 4 principal female characters to be exact.  Moxie Owens (“Girl Lost:  A Hollywood Story”) as Jane Doe, Lexie Leone (“It Don’t Bother Me at All”) as Amy Doe, Juliet Kennedy as Angela, and Lindsay Normington (“Anora”) as Audrey Doe become the diverse batch of short-listed actresses of controversial and law-bending snuff films. These core cast of women are joined by gap-filling support, ranging from gays, to blacks, to Asians, and so forth by extenuating out from just a white female dominated industry in touching cultural and race by the less promoted numbers of adult entertainment. Much of “Snuff Queen’s” inauthenticity garb comes from the acting that’s densely overplayed and exaggerated because of the less-comedic directive by shot-calling distributors and performances stand out amongst a darker theme as too watery and less potent, like off-brand prescription drugs. Ironically enough, IMDB.com gives in the title’s controversial nature by not listing the film under any of the actor’s individual credits as to say or allure “Snuff Queen” documentary as real evidence and content based. Tuesday Knight (“A Nightmare on Elm Street: The Dream Master”), Josie Hung (“Staycation”), Gina DeFlilippo, Captain Dare, Zac Mendoza, Neill Flemming (“It Kills at Midnight”), Christopher Parker (“Spider”) and Jake Holley costar.

Much of what is laid out in “Snuff Queen,” all the provocative and debatable ethics, legality, and portentous aspects of Snuff, is all a load of crap and the director, Sean Russell, would be the first person to tell you that.  What Russell intends to convey is an allegorical emotional evaporation in adult entertainment performers and how apathetic the industry is toward the safety and responsibility for its talent who battle with low self-esteem and anger issues that either drive wedges between friend and family or ensue verbal spouts.  There’s also the treatment or being seen as just a bag of meat for the slaughter when getting the shot is important than the person taking all the risk for little reward.  Russell achieves that endgame message despite the cuts of levity humor that do squeeze through every so often but with that squeeze-in of a dark humor chuckle, coincided with a reserved approach to a documentary surrounding Snuff of all things extreme, in lies an off-putting characteristic going against the grain of the film’s black toned nature and Russell’s indelicate undercurrent theme.  “Snuff Queen” is nowhere near the shock level its required to have, especially being bestowed a taboo title, with little-no-effort in the thickness of the story’s creative girth; instead, the 2008 interviews, snipped scenes from previous controversial films, and one atypical scene at the heart of the story teases with stark nudity and blood are the only edgier content of a rather dull feature length pseudo-documentary. 

Presented in a widescreen 1.78:1 aspect ratio, Dark Arts Entertainment distributes the home release of “Snuff Queen” on DVD.  The MPEG2, 720p and 1080p, DVD9 has stark grade resolutions due to the 2008 recorded interviews and footage shoot 15-years later in 2023 with the former a blockier, less-pixelated digital camcorder for ease of AVN, working the crowd, person-to-person use.  Recent footage has the polished look of a high-dollar digital recording sans any artistic grading or stylistic lens.  No issues with compression codec that produces a very fine, detailed image reproduction that sinks into inky blacks and retains a natural color palette.  “Snuff Queen” is authored with a LPCM English stereo mix that’s an imitation of a hot mic of continuous dialogue, as many real, pseudo, and mock documentaries are, that renders cleanly through from one bookend to the other.  There’s also not a ton of interference other than in the 2008 interviews at the AVN with perhaps more commercial equipment or audio setup.  The onboard mic snags the milieu sounds with the raw range and depth.  English subtitles are available.  Encoded special features include a director’s commentary that goes through the first planned steps for the film and its subsequent rejections from producers back in 2008, deleted scenes, and the film’s trailer.  Physical features are stark and spartan with a convention DVD Amaray that has a mock polaroid border and the redacted eyes and mouth of a faceless, chest high naked woman that draws attention in conjunction with the title.  Dark Arts Entertainment presents the release not rated, region free, and has a runtime of 92 minutes. 

Last Rites: “Snuff Queen” might have worked 15-years ago with the old footage that contained real pornstars and real enough gore effects that could have turned this concept onto a creative machination in illusion of the truth or a clever black comedy that really pokes the porn industry in the ribs, but instead time and too many hands the creative pot has relinquished any power “Snuff Queen” may have wielded, dethroning it definitly out of shock contention.

“Snuff Queen” on DVD from Dark Arts Entertainment!

Earn Your Evil Badge at Fat Camp! “Camp Massacre” review!

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Ten overly obese contestants compete on a boot camp type reality show to lose the extra pounds and have a chance at winning one million dollars in prize money. With intense health-crazed coaches, a strict unconventional exercise regiment, and a low-carb diet on the menu, things couldn’t be worse for the over weight competitors until people started to disappear and end up being murdered. Shedding the weight was literately the case as one-by-one a contestant’s eviscerated remains were discovered. Now the competition’s stakes have intensified and death is lurking around every corner. And we all thought fat shaming was worst that could happen to the weight challenged…
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“Camp Massacre,” “Massacre Camp,” “Summer Camp Massacre,” Klown Kamp Massacre.” No matter how you jumble up these specific words, a generic title is still a generic title and the title “Camp Massacre” puts a pre-viewing damper on a long night of film watching along with a cover splayed with a former porn starlet and Charlie Sheen ex-“goddess” Bree Olson, semi-retired wrestler Al Snow, and, well, some unknown hot brunette chick with a bloodied chainsaw who doesn’t appear to be a part of the cast. Going into “Camp Massacre” knowing that this title considers itself a horror-comedy had helped push myself into popping in the disc and pressing the play button or else this title might still be collecting cobwebs on the nightstand.
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The opening scene introduces the viewers to two young and attractive women and one large, unattractive woman in a hotel room discussing plans on what they’ll do tonight on a foreign island land which is undisclosed to us – looked like Key West, honestly. One of the women pondering going out on a night on the town is Bree Olson and before you know, Olson is fully and gratuitously nude in a sensual, extended shower scene and you all know what happens if you show your skin too soon in a horror movie! This ambiguously set and gratuitously shot segment proceeds into the main title and credits that slide right into the meat of the film that seemingly almost has nothing to do with the opener. The introductory scene barely hangs on even with the finale connection, but this thin connection creates an out of place awkward sequence that stands out like a sore thumb.
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Connectivity and longevity of story remembrance sums up co-directors Daniel Emery Taylor and Jim O’Rear’s experience in filmmaking. The two filmmakers also produce and star in this collaborated effort to bring comedy and horror to a Biggest Loser reality show parody and to homage their love for certain horror icons. The hot topic of obesity is currently in a state of widespread prevalence making “Camp Massacre” relevant to the world’s personal and social problems that the media hops on, but the real question is did directors Taylor and O’Rear succeed in making a good comedic and horrifying quasi-film out of movie about obesity? That conclusion is all in the eye of the beholder and all in the interpretation of the viewer.
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Is “Camp Massacre” a horror film? Yes. Is “Camp Massacre” a comedy movie? Yes. Is “Camp Massacre” a good horror-comedy? On a scale from one to ten, with ten being the highest – a three. Let me explain; the killer is written as a chubby villain with a “Six Pack, Abs” red apron and a Kentucky Fried Chicken family bucket on his head for a mask. If the killer’s looks intended to be a hoot, then there was a monumental failure. The killer’s arsenal is a collection of obviously off-colored prop knives and machetes that could be considered costume jewelry or packaged costume outfit accessories for party goers. The death effects are a bag of cheap tricks which are not sold convincingly and don’t bring the blood in which “Massacre” implies. The one single element going for “Camp Massacre” being a horror film – or even within the standards of a comedy – is the amount of nudity. Bree Olson, Megan Hunt, Amy Boyatt, and even Taylor’s wife, Ami Taylor, succumb to the conventions of a campy horror film and reveal the goods for the world to bear-witness. My only question is, where was Ava Cronin’s nude scene?
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As far as the comedy side of this horror-comedy, “Camp Massacre” delivers on some levels mostly hanging around on a slapstick and immaturity elements. Daniel Emery Taylor’s character Greg paired with T.J. Moreschi’s Andy couldn’t ask for a better coupling as a budding duo who compliment each other’s wits with different character personalities. Add in a self absorbed narcissist body guard (who on the DVD cover looks like a coach with a whistle and clipboard) character named Ritz played by the bulky wrestler Al Snow and you’ll get a chuckle or two out of this feature. Ritz delivers quirky quips like “everything is good on top of a Ritz” during the scenes right moment. However, much of the comedy misses the mark and also just comes off as saying a lot of “fucks” in the dialogue which becomes stale after a first twenty. Simply put, the comedy is overly clichéd, but can still give you a half-assed tickling.
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I’m not overtly excited about “Camp Massacre’s” characters either. Greg, Andy, and Ritz are fine and I’m found the homosexual Jarrod and the hispanic Josue to be entertaining. The rest of the cast seemed a bit tired. Actor William S. Tolliver was either sitting or laying flat the whole movie which was probably due to his weight, but the character became old as Tolliver didn’t express much versatility for an immobile character. Darc Ness, played by Ernest Douglas Nichols, didn’t bring the Goth attitude I had hoped. The character mixed Goth and serenity blending the persona into a off-key concoction. Most of the cast have worked with Taylor and O’Rear and have become their own heavy set version of entourage. What the film needed was more Michael Myers portrayer Dick Warlock, but that’s neither here nor there.
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The MVDVisual DVD dons a 1.78:1 widescreen transfer that looks decent except for a bit of posterizing after the opening credits in the darker scenes. The Dolby Digital 2.0 mix does well channeling and prioritizing the dialogue, but some production issues weigh heavy on an uneven mic placements causing slight interference from scene to scene. For disc extras, there is solely the movie’s trailer. Overall, “Camp Massacre” doesn’t deserve to be completely passed over, but I wouldn’t expect instantaneous cult status or life changing acting nor an outer-body experience in filmmaking. Instead, take “Camp Massacre” for what it’s worth; a bunch of fat guys at boot camp being stalked by a bucket head killer with Al Snow and lots of nudity. Where can you go wrong with all that?