Kent Chubbs manages a popular fetish nightclub called Den O’Iniquity in a small conservative town and the demanding, ever-present pressure to close his proclaimed “smut” club from the angry puritanical protestors and unethical politicians have Kent on the hair pulling fences about what to exactly do with his beloved club and loyal employees. To make the matters worse, Kent’s father and club owner, Shank Chubbs, is knocking on death’s door with a bad ticker. To make the matters even more worse, the club’s been a remarkable safe haven for those who choose to express their closeted intimate desires in spanking, furry sex, or lube wrestling, but, during the holiday season, the club has had a low hanging dark cloud in a form of a deranged killer whose been destructively rampaging through the club’s most precious employees and enthusiastic patrons. In order to save everything he holds dear, Kent must find a way to keep everything afloat despite the challenges and his ill-advised legal advice from his acid tripping hippie attorney while also tracking down a psychopath.
In 2007, Richard Griffin directed a hybrid film that structured an abled bodied comedy and interjected moments of gruesome horror and fashioned it with elaborate musical numbers and the result was a niche slasher-musical simply known as “Splatter Disco.” We like this film. Actually, we love this film. Not because we enjoy watching and reviewing Richard Griffin films (see “Flesh for the Inferno,” “The Sins of Dracula,” “The Disco Exorcist,” “Frankenstein’s Hungry Dead,” “Future Justice”) and enjoy seeing where his toddler career began, but because “Splatter Disco” embodies the unlikely mixture of oil and water genres, doesn’t take itself seriously, and was whole-heartedly invested in by some of the biggest names in cult cinema as well as some talented actors and actresses you’ve may have never heard of before, but should certainly know.
Ken Foree, Lynn Lowry, and Debbie Rochon. Three big, well-known names that add their own delectable charm into the mix and, also, three big names who have developed a dynamic, who know each other’s styles, and who can still churn new material on the fly like it’s no big deal. Tack on Trent Haaga (“The Ghouls”) and the then new and Richard Griffin regular from that point on, Sarah Nicklin, who both have the favorably b-movie glow and “Splatter Disco” goes to a whole new level. One of the best performances goes to Jason McCormick as Echo, a DJ Qualls lookalike, with a timely comedic toss that provides a unique schtick to keep the character rememberable and McCormick nails the character right on the flat head. Overall, there were no slacking performances; every actor was chin deep getting into their respective roles with the various fetishes, cloak and dagger shades, and violent intentions. Rounding out the cast is Carlos Brum (“Beyond the Dunwich Horror”), William DeCoff (“The Haunting of Alice D”), Robin L. Watkins (“Poultrygeist”), and Brian L. Mullen III (“Pretty Dead Things”).
If you never experienced a Richard Griffin feature, you’ll pleasantly find out very quickly the director goes all out and the Providence, Rhode Island born director has a great 1970’s-1980’s homage style side dished with lots of vibrant colors and the abundance of suspending smoke and you’ll see why we cater to much of his work. The script’s dialogue, co-written by Griffin and producer Ted Marr, also excellently defines and solidifies the quick wit and whimsical nature of the comedy-horror and to make no mistake, this comedy-musical-horror has no shame with perversions, has well edited bloody special effects, and is ultimately a blast of lively cult cinema! “Splatter Disco” is a self-proclaimed first slasher musical of it’s kind; honestly, I couldn’t think of a prior film of it’s kind, but “Splatter Disco” has hit and catchy imitative tunes provided by Tony Milano and performed by Daniel Hildreth that go hand-and-hand with the humbling dance choreography.
MVDVisual, POP Cinema, and Shock-O-Rama re-releases “Splatter Disco” onto a not rated DVD home video with a 16:9 widescreen presentation. Regrettably, I’m sorely disappointed in the video quality that fully suffers from the distorting and blotchy compression artifacts that make night scenes fuzzy and flimsy in defintion. The lossy 2.0 stereo track is par for the course, even with musical pieces and soundtrack overlay, but does provide a little restitution for the image loss. Bonus features are aplenty that include a commentary with director Richard Griffin and star Lynn Lowry, a behind-the-scenes documentary, alternate scenes, and a Shock-O-Rama trailer vault. “Splatter Disco” is an entertaining 87 minute Richard Griffin slasher capsule classic full of degenerate song and dance!
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Evil’s One Click Away! “Slasher.com” review!
A Missouri city is terrorized by a slippery psychopath who gratifyingly kills women after meeting them on an online dating service and chopping off a lock of their hair for his serial killer souvenir. During this reign of urban terror, Jack and Kristy decide to meet for the first time in the midst of all the chaos of online skepticism. Kristy’s elaborate first date idea involves driving out to an isolated cabin on the outskirts of the big city ran by Momma Myers and her eccentric family. After an eventful day and passionate night of exploring each other inside the dark cabin enclosure, Kristy and Jack find themselves in the malevolent grips of the rural area’s most delinquent and psychopathic residents who know the wooded landscape like the back of their blood soaked hands. Escaping a killer in the city was the easy part, but in the woods, no one can hear you scream, no signal can be transmitted, and there’s nowhere to run, but what comes about of Jack and Kristy takes a twisted turn of events that has transformed this secluded campground into a war zone.
“Slasher.com” assumes to exercise an excessive vat of survival slasher tropes by creating foreboding scenarios that are extremely obvious to keen horror eye. If you know your slashers, you know the drill. Missourian native director Chip Gubera’s has developed a half-serious, half-self-deprecating 2017 thriller co-written by fellow Missourian Chelsea Andes with her first feature script credit. The story starts off hot and steamy enough with the sounds of moan-and-groan lovemaking, but turns sour in a split second with a half naked victim becoming shish kabob. Great start so far. Proceeding goes into a montage about an anonymous online dating service homicidal psychopath who lures women to their ultimate demise and whacking off a piece of their hair for trophy. Here’s where things become little satirical. Main characters Kristy and John, knee deep in online terror dating and who know each other solely from their online conversations, hike up toward a deep-wooded cabin in a small podunk town and with a bit of overzealousness, the ease between them feels whole-heartedly unnatural and very uncomfortable, but makes for superb Cliffnotes version of the whole slasher genre mock up. You got your daft couple, you got your deranged campground establishments, and then you got your gratuitous nudity – what else could you ask for?
And who are these players Chip Gubera was able to sway to be in “Slasher.com?” First up, Ben Kaplan, relatively unknown, steps into the shoes of John, an organized, easy going good looking guy who you wouldn’t expect to be online dating and the same goes for Kristy, portrayed by a very beautiful Morgan Carter, also an unknown in her first and only credit. The two have a weird and robotic dynamic that’s hard to swallow, hard to accept, and hard to comprehend why they’re both seeking what’s behind the other end of the keyboard and computer monitor, but here they are casted into the lead roles. On the opposite end of the spectrum are a duo of veterans in the horror field and, as well, in the erotic genre. “Leatherface: Texas Chainsaw Massacre III” and a few other notable horror sequels’ R.A. Milhailoff, a very large and threatening man, does have the killer presence and dwarfs a out of this world demented performance by the one and only Jewel Shepard as Momma Myers. The same Jewel Shepard from “Return of the Living Dead” and from the recently reviewed sex-tastic action film “Christina” and she’s so sleazy and so unbelievable rank that’s it’s truly scary. Rebecca Crowley, Delious Kennedy, and Adam Boster fill out of the support cast.
“Slasher.com,” from what you read earlier in this review, might seem like stiff drink with the same cobalt, down-the-hatch taste, but there’s a flick of the wrist in the finale that’s leaves Gubera’s film standing just slightly above the mediocre, low-budget melee and taser-charges the nuts of what could be a new breed of horror. Just out of reach and falling flat on it’s face is the quick rise and long hard fall for Chip Gubera’s “Slasher.com” who took a quirky, fly-by-the-seams slasher and contributed to it a brief glimpse of ambition that never reach full potential, but there were moments. Good moments that cleared the ugly scrap show up every so often; for example, the dead body pit, or the captivating needs of Momma Myers by the delectable Jewel Shepard, or even the final showdown between the Myers and John and Kristy.
Cinedigm and ITN Distribution release “Slasher.com,” also known as “S/ash.er,” onto DVD home video presented in widescreen with a poor English Stereo 2.0 track. The digital noise waves through nearly all scenes of the image, especially the ariel shots, and doesn’t sharply display the forest, but keeps the vague Myers dungeon in the shadow’s of it’s own shoddiness. Sleazo, that’s the creative moniker of the scorer, provides a synthesized track that’s horribly exploited because it is a fairly good soundtrack even if it’s only a one track, sorry trick, pony. There’s also no bonus features on the DVD, leaving only the feature to fight for itself, and with that omission of extras, with that poor quality, and with steep drop at the end, “Slasher.com” fails to take advantage of the sui generis story that needed to blossom.
Evil Wants You to Say it’s Name! “The Bye Bye Man” review!
Elliot, Sasha, and John move into an old manor home just off the university’s campus. The tight knit three friends stumble upon a tattered nightstand with scribbled nonsense inside the drawer and underneath the incoherent writing and scratched into the wood is The Bye Bye Man. Once you hear the name, a searing imprint has been made into the mind, opening up a layer within the universe that invites a grim reaper-like figure to come horrifically collect individuals who have been infected with the name. The mysterious malevolence will impose hallucinations, or tricks, upon the mind to induce others to commit evil acts on another and will stop at nothing until those who know his name are either end up dead or spread his vileness. For Elliot, Sasha, and John, their close relationships will be tested, they’re bodies will be challenged, and their minds will be altered in a race against the clock in order to beat death, to defeat The Bye Bye Man.
“The Bye Bye Man” is an Universal Pictures and STX Entertainment distributed boogeyman concept from 1995’s “The Last Supper” director Stacy Title. Title, who hasn’t been active for about ten years since her last directorial, helms the project written by her husband, an appropriately named Jonathan Penner, who also had a co-starring role in “The Last Supper.” The inspiration stems from a collection of horrific tales from Robert Damon Schneck’s “The President’s Vampire: Strange-but-True Tales of the United States of America,” but “The Bye Bye Man” borrows heavily from well-crafted horror brethren too, birthing a mythological personification of death that doesn’t wield a scythe, but rather being a master, underneath a dark hooded cloak, to a hellish beast that munches on the faces of The Bye Bye Man’s victims. “A Nightmare on Elm Street,” “Final Destination,” and a little bit of “Scream” become the selected examples that are the genetic makeup of TItle and Penner’s film, but doesn’t grossly rip from the said works, two of which are the late Wes Cravens masterpieces. Instead, Jonathan Penner reconfigures the nightmare man, a modern day Freddy Krueger type stalking every soul during the day and night hours, whom establishes his own brand of Rube Goldberg deaths through deadly vision inflictions that pray upon a human’s moral subconscious. “Don’t say it. Don’t think it” sets as the 2017 film’s tagline with the notion that perhaps little white lies are, literally, lifesavers or that the truth can be hurtful, and or knowledge can be powerful, but can also lead to your own demise.
“Ouija’s” Douglas Smith succumbs to his lead role of Elliot, an educated and patient young man who seems to have everything despite tragic misfortune that’s whisked through the character development. From friends, to a supportive brother, to a loving girlfriend, Smith transition seamlessly to languishing burden during a spotlight scene with co-star Carrie-Anne Moss (“Matrix”) that’s raw and cuttingly empathetic. The story centers around Elliot, but Sasha and John have pivotable relationships to Elliot, two essential roles given to two British actors, former girl of Prince Harry, Cressida Bonas, and television actor Lucien Laviscount. Both Bonas and Laviscount expensed drab performances, mechanically and, often, monotonically coming and going from scene-to-scene without mingling well into the rest of the film’s grim and dire trimmed overalls that basically left Smith out to pick up the slack. Along with Carrie-Anne Moss, who always seems to be typecast in a women of power role and, in this case, a detective, “The Bye Bye Man” sports other veterans of both horror and general film, but; instead, take a backseat to a younger generation of actors. “HellBoy’s” Doug Jones silently strolls through one of the easiest prosthetically garbed performances of his illustrious career as the titular character, genre stable Leigh Whannell (“Saw”) commits to a haunting performance as a murder-suicide martyr, and the legendary Faye Dunaway portrays a longtime widow of the aforementioned madman. Michael Trucco (“Wishmaster 4: The Prophecy Fulfilled”), Jenna Kanell, Cleo King (“Hood of Horror”), and Erica Tremblay round out the supporting cast.
Universal picking up a horror title resembling an infantile kids feature and releasing it theatrically might with relatively unknown, mostly non-American cast, will scratch some questioning heads, but with a well oiled supporting cast consisting of many years of guild service, a director, despite being inactive for many years, maintaining a sensible and visionary eye, and a story, aside from a few underdevelopments, that captivates with edge of your seat scares and with next moment eagerness, “The Bye Bye Man” has great potential. With smoothing out details of Elliot’s and The Bye Bye Man’s backstories and construing more of a slow burn method when getting the characters involved with the ‘don’t think it, don’t say it’ villain name, Universal would have increased their gross profits by double and the world would be happy once again. Unfortunately, that scenario was not the case as credits bombarded “The Bye Bye Man” as about as borrowed and as hokey as any low-budget horror film can be, but “The Bye Bye Man” surpassed the production budget by triple and to me, someone who generally has the same stance as most credits, that’s a win for Stacy Title and company.
The Intrepid Pictures and Los Angeles Media Fund production “The Bye Bye Man” makes a Universal Pictures Home Entertainment debut on a two-version unrated Blu-ray and DVD combo. The MPEG-4 AVC, 1080p Blu-ray disc contains a razor sharp image in the 1.85:1 presentation. Depth and shadows phenomenally define the space, especially in closer quarters and the ariel shots. A motif of bleak black and grim grey is consistent throughout, creating a tone through the darker shades, with vivid hues to gloriously fend for themselves amongst the achromatic reel landscape. The English DTS-HD Master Audio 5.1 surround sound doesn’t feign in the balance category with dialogue prevalence not short of excellence and, much like other atmospheric horror, the spooky elements are outlined in various levels from a coin dropping to a train horn. Bonus features are surprisingly zilch with no extras on either format; I guess there wasn’t much to say during or post-film. In all, “The Bye Bye Man” is a total hack with plot holes. A completely borrowed and revamped product with a terribly childish title promising nothing to the genre, but that doesn’t necessarily mean “The Bye Bye Man” can’t be entertaining, providing a wicked sense of humor and a morbid final destination outlook with unexpected casting choices and a barely bordering PG-13 horror rendering.
Say Buy to “The Bye Bye Man” at Amazon.com!
“The Blackcoat’s Daughter” from Lionsgate in May!
Terrifying and suspenseful, The Blackcoat’s Daughter arrives on Blu-ray Combo Pack (plus Digital HD) and DVD May 30 from Lionsgate. Emma Roberts stars as a troubled young woman who embarks on a journey to an isolated prep school while two stranded students (played by Kiernan Shipka and Lucy Boynton) face a sinister threat from an unseen evil force. Praised as “truly unsettling” by RogerEbert.com, the movie premiered at the 2015 Toronto Film Festival and the 2015 Fantastic Fest. From writer-director Osgood Perkins, The Blackcoat’s Daughter Blu-ray Combo Pack and DVD will be available for the suggested retail price of $24.99 and $19.98, respectively.
OFFICIAL SYNOPSIS
Beautiful and haunted Joan (Emma Roberts “American Horror Story” and “Scream Queens”) makes a bloody and determined pilgrimage across a frozen landscape toward a prestigious all-girls prep school, where Rose (Lucy Boynton) and Kat (Kiernan Shipka) find themselves stranded after their parents mysteriously fail to retrieve them for winter break. As Joan gets closer, Rose watches in horror while Kat suffers terrifying visions and becomes possessed by an unseen force.
Lionsgate will release “The Blackcoat’s Daughter” on Blu-ray Combo Pack (plus Digital HD) and DVD May 30!
Never, Ever Climax With Evil! “Female Vampire” review!
A cursed countess has returned home to the Madeira Island. Countess Irina Karlstein has an insatiable thirst, deadly to any man or woman she’s comes in content with on the scarcely populated island. By day and night, the beautiful mute countess, wandering the terrain more than half naked, enjoys the islet’s amenities, including sucking the blood, or the sperm, out from her erotically hypnotized prey and zapping their life essence right at the point of climax. Discredited Dr. Roberts and a mystical blind Dr. Orloff aim to track down the creature practicing vampirism, despite the local authorities unwillingness to aid them and wishing to debunk the outlandish theory. Amid the rising death toll, the countess unexpectedly falls in love with an aspiring writer on holiday and she fears her curse, her hunger, her need to be filled will consequently overtake the love she has bestowed upon the writer.
Classic European schlock from the greatly candid and voyeuristic director Jesús Franco, “Female Vampire” goes by many interesting titles, just like Franco himself who also has a cache of various, widely used monikers. “Erotikill.” “Loves of Irina.” “Lustful Vampires in Sperm Frenzy.” These are just the tip of the enigmatic iceberg that is of the English titles associated with Franco’s film with “The Bare-Breasted Countess” and “Female Vampire” the better suited for the version reviewed by Its Bloggin’ Evil. Oh, did I forget to mention there are multiple cuts and versions of this film? The 1975 sleazy vampire flick has numerous renderings from an XXX version with sexy-time vampire scenes to a 35-minute reduced cut where many of the sexually graphic material has been removed and more of the horror either remains or second, more conservative, takes are introduced. Whether “Female Vampire” is a good film or not ultimately determines to be an unnecessary factor as Franco’s film can be rather an interesting case study in how one story or, in this case, one reel can be reworked and reconstructed to emit a completely different sensational perceptive.
Barcelona born actress Lina Romay exposes herself as the Bare-Breasted Countess Irina Karlstein. Her striking dark features and piercing eyes make her resemble your typical lady bloodsucker and with vampires being naturally attributed with strong sexuality and influential powers, Romay doesn’t need the omitted dialogue as she instills beauty, sex, and power into the body and the expression of her character. The untrained actress leads by being an extrovert, uninhibited by conventional proprieties, and Romay wins at being Countess Irina Karlstein just by naturally being herself. Her longtime collaborator and future husband, Jess Franco, had developed, whether intentionally or not, this role for his free-spirited companion and, as well, stars himself as the inquiring Dr. Roberts. As the countess’ love, cult genre favorite Jack Taylor brings his tall, dark attributes to be a soft spot for the unquenchable cursed and an Amazonian built Anna Walican gets hanky-panky as a islander journalist with Lina Romay in a sensual scene of unchained lust. Alice Arno (“Justine de Sade”), Monica Swinn (“Hitler’s Last Train”), Luis Barboo (“Conan the Barbarian”), and Jean-Pierre Bouyxou round out the cast surrounded by Romay’s eroticism.
On the outside, Jess Franco directs like the utmost perversity, deep-seeded with gratuitous nudity and filled with revamped versions of the same scene. On the inside, “Female Vampire” is tragic love letter with Countess Irina Karlstein’s wretched curse stretching beyond her power. Her curse is more than just yearning from blood (or semen), but also an ache of the inability to be sexually gratified. Even when her victims are dead, she continues the carnal ritual of graphic grinding, tantalizing touching, and manic masturbating. Aside from being mostly nude throughout the entire feature, and if not, semi nude through a see-through blouse, Lina Romay’s perfectly shaped apple bottom is constantly upended, flaunting her pheromones in more way than one, with each conquest more exposed than the other.
Screenbound Pictures has released “Female Vampire,” aka “The Bare-Breasted Countess,” as one of the first United Kingdom DVD titles from the new Euro cult label, Maison Rouge, who specialize in Euro trash and sleaze. I was offered a DVD-R screener and can’t comment on the quality or the bonus features, but with release, with excellent cover art, contains two versions of the film: the highly erotic version with as much body part exposure as one can handle and the “Erotikill” which has alternate scenes and less sleaze. The main feature dons no blood, except the countess in a blood tub, and allows Countess Karlstein to roam in sunlight, non-typical traits of the conventional vampire and as the “Erotikill” version still lets the countess be exposed to ultraviolet rays, there’s more blood that’s more than enough to barely gentrify the horror genre. “Female Vampire” is an usual bird of love and lust, a perfect example of Jess France’s body of work, in an awful take on an iconic horror villain legend.
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