Crawldaddy and Her Two EVIL, Incestual Kids in “Skinned Alive” reviewed! (Tempe Digital and Makeflix / Blu-ray UE)


Crawldaddy and her two children, Violet and Phink, are psychopathic makers and sellers of fine leather apparel right off the backs of, well, literally ripped right off the fleshy backs of anyone they come across! When their van breaks down in a small, dumpy, low-bred Ohio town, Crawldaddy is forced to play nice with the town’s only mechanic, Tom, who offers a complete line of unreciprocated hospitality to the strange out-of-towners, but that doesn’t stop her and her children from committing slice and dicing of the local residents while bunkering in Tom and wife’s basement spare room. When Tom’s neighbor, Paul, an alcohol abusing ex-cop on the edge as a result of a brutal divorce, senses trouble and discovers Crawldaddy’s den of skin, the quiet small town explodes with bullets and blades in a macabre showdown.

Forget the Firefly family that has brought backwoods kin-in-arms killers to the masses in vogue fashion. Otis, Baby, and Captain Spaulding have nothing on Crawldaddy’s foul-mouth, foul-smelling skinner family who ranks as the top trash, living the nomad lifestyle with all the depraved trimmings of the criminally insane. Written and directed by Jon Killough, who after working on J.K. Bookwalter’s “The Dead Next Door” and “Robot Ninja” in multi-hat roles, “Skinned Alive” was bestowed a greenlight by Bookwalter to explore the creative side of Killough’s vile and offensive laden hillbilly horror that was released in 1990, before that very subgenre was coined and monetized years later. David DeCoutea, who envisioned the eviscerated virtuoso of the gruesome filmmaking talents from Todd Sheets to J.R. Bookwalter, served as executive producer and Bookwalter’s The Tempe Suburban Company tackled “Skinned Alive” with all the ingenious bloody pizzazz and outlandish death set financier and production company while filming the project in Ohio.

Since The Suburban Tempe Company is a tight-knit production company, familiar faces from Bookwalter’s previous films have been cast, beginning with Paul Hickox, the ex-cop with a drinking and ex-wife problem, played by Floyd Ewing Jr. The Hickox character crosses over from “Robot Ninja” into “Skinned Alive,” but exhibited in a dichotomous life position. While Ewing nails being a man dragged through the pig slop of divorce, Paul feels cut short with the amount of buildup written for the character that’s centered around ex-wife woes of losing his house and kids, depressed into drinking, and has to deal with a sleazy lawyer whose also litigating his former wife in a court of a sex. However, “Skinned Alive” is all about the bad guys.  In the majority of horror films, the bad guys are always the most interesting because of their rancid flavored persona and for our culturally-collective love of the eccentric, the offbeat, and the grim of villainy.  Crawldaddy embodies those despicable characteristics without so much of breaking a sweat with a abhorrent-welcoming performance by the late Mary Jackson.  Jackson, who went on later to work Bookwalter again in a minor role in “Ozone,” is transformed from a singing beauty to a basket case of a wretched, wheelchair bound hag, unearthing her uncouth Hyde at the flip of a switch.  Jackson is complimented by Susan Rothacker as the alluring-but-deadly Violent, a roll filled in the last minute by the film’s makeup artist when things didn’t work with Jackson’s daughter Lorie, and the one and only Scott Spiegel as Phink.  The energetic Spiegel has been a part of the longstanding Sam Raimi entourage, having minor roles in Raimi films, such as “The Evil Dead,” “Darkman,” and “Drag Me to Hell,” and when “Skinned Alive” became in need of a Phink, Spiegel may have just saved the film by his presence alone as the “Intruder” and “Dusk Till Dawn 2:  Texas Blood Money” director brings the manic ticks and callous charisma to Phink’s traits.  Rothacker ups the character dynamics with Phink as the pair’s love-hate relationship is a slap-stick of incest and homicidal cravings that fits right into the vile veneer of the story.  “Skinned Alive’s” cast rounds out with Lester Clark (“The Dead Next Door”), Barbara Katz-Norrod (“Kingdom of the Vampire”), Mike Shea (“Robot Ninja”), Mike Render (“Robot Ninia”), J.R. Bookwalter as a tortured Jehovah’s witness, and Jon Killough as an unlucky the hitchhiker.

As Killough’s indirect byproduct of Tobe Hooper’s “The Texas Chainsaw Massacre,” “Skinned Alive” is the skewed, bad dream version of the devious Sawyer family with heavy notes of black comedy chucked into the fold for an all-out odious assault on all fronts, but Killough’s first and only feature didn’t come out totally unscathed as a harmonious horror-comedy.  With little film stock left to shoot with and production controversial new scenes written by Killough and then altered by Bookwalter without consent, “Skinned Alive” became a rapid fire production of short shots compiled together that resulted in a choppy flow.  You could also discern which filmmaker wrote which dialogue in the filler scene between ex-cop Paul and his ex-wife with her sidepiece arrogant lawyer; Bookwalter adds witty, if not smart, dialogue to reinforce Paul’s degrading life while Killough’s dialogue for the rest of the feature is an expletive warzone without much of a strategy.  Both discourses work for the benefit “Skinned Alive,” but do cause a blatant, patchwork barrier between the conversing styles.  David Lange and Bill Morrison’s special effect makeup work is a complete continuation from “The Dead Next Door” and “Robot Ninja” of rendering gooey, gory visuals on a budget.  Sometimes, yes, you can see how unflattering the realism can be and easily securitize the flaws, but at the same time, the ingenuity trumps over cost and that elevates the effects beyond any dollar figure the film might cost.  That partial prosthetic of ripped flesh on Spiegel’s Phink when he’s hot in the face is one my favorite effects not only for the gruesome details, but for also its versatility.  It could easily be a bear claw swipe or a flesh eating bacteria, making the possibilities endless for Lange and Morrison.  Thirty-years later, “Skinned Alive” has preserved a rightful staunch cult following for it’s unparalleled grotesque veneer that will endure to linger for another 30 years plus thanks to technological advances and vehement filmmakers who are also filmic preservationist like J.R. Bookwalter.

Speaking of which, J.R. Bookwalter and his company, Tempe Digital, has painstakingly restored “Skinned Alive” and released it on a region free ultimate edition, dual-format Blu-ray/DVD, distributed by Makeflix.  The original 16mm A/B roll cut negative was scanned in 2K and is presented in the retained 1.33:1 aspect ratio.  The scan brought the transfer int a low-contrast in order to color correct and bring more life into the presentation from previous untouched versions and removed all of the white speckled dirt and scratches from nearly much of movie; a silver-lining made possible by COVID-19 quarantine that allotted the time to do so.   The color grading now has a much more vibrant appeal though slightly losing details from the high contrast with some of the more brilliant red glowing scenes in Tom and Whinnie’s basement.  Limited to 1000 pressings, “Skinned Alive,” the 30th Anniversary ultimate edition, by visuals alone, should be blipping frantically on any avid collector’s radar and sought by all genre aficionados.   The English 5.1 DTS-HD Master Audio surround sound stem from the DA-88 tape archives of the original 16-track audio masters and while much of the dialogue and musical score remained, a good chunk of the ambience and effects were rebuilt and remixed, defining a clearer, cleaner audio track presentation of balanced levels from all different file sets.  Aside from some small synchronization issues between the dialogue and the scenes, the range is pitch perfect and the depth is excellent.  There are optional English and Spanish subtitles included.  Bonus features, you say?  The ultimate edition has you covered with the BR disc one containing a 2020 commentary with writer/director Jon Killough and moderated by Tempe historian Ross Snyder of Saturn’s Core Audio and Video as well as a 2002 audio commentary with producer J.R. Bookwalter and makeup effects artist David Lange.  Other new material includes a 16 minute featurette entitled “Carving Up 30 Years of ‘Skinned Alive,'” featuring a number of interviews with the cast and crew recollecting good times on set, a remembering Mary Jackson featurette that includes Jackson’s son and daughter, among cast and crew, commemorating the Crawldaddy actress, an interview with Scott Spiegel, 2020 location tour, artwork and promotional gallery, behind the scenes gallery, production stills, and, my personal favorite, J.R. Bookwalter walking through the restoration process step-by-step giving insight on the time and effort into restoring the films such as “Skinned Alive.”  Disc 2, the DVD, includes a 2002 audio commentary with Doug Tilley and Moe Porne of The No-Budget Nightmares Podcast, the 1987 and 1988 “roommates” TV sitcom episode featuring the “Skinned Alive” cast and crew, the Joy Circuit “Love Turns to Darkness” music video, a making off featurette of “Skinned Alive,” behind the scenes, Camera and wardrobe tests, a short 2 minute segment about the 2002 remastering and the original DVD release trailer.  That’s not all!  Let’s not forget to mention the equally packed release package that includes a reversible wrap featuring original 1990 VHS artwork in the casing and new cover art by Alex Sarabia on the slip cover, plus an eight-page color booklet with liner notes by Ross Snyder.  The only thing missing is a soundtrack CD compact…wait, there is one!  Come September 18, the original motion picture soundtrack, featuring 29 tracks, will be released with scores composed and performed by J.R. Bookwalter, songs by Hang Dangle, Foxx, Virgil Pittman, Joy Circuit, Dave Jackson and Kenny Boyd, Seven Sez U, The Ninja Sequencers, and Willie and the Wagon Wheels.  This 2-disc set is the holy grail for die hard “Skinned Alive” fans who know and appreciate the unique, second to none hillbilly horror that’s flagrant on every level.

Pre-order the soundtrack!!! Click to go to Amazon.com

Knights, Murder, Zombies…It’s an EVIL Smorgasbord! “Erotic Nights of the Blind Dead” reviewed!


Buitrago, Spain in 1310, Templar priests set forth on a mission, wandering the countryside to root out evil witches for torture, flogging, and eradication, but what the priests kept secret from public eye is that the village women they were apprehending were actually innocent and used as a means for sacrifice. The sadistic, malevolent priests drank the blood of their innocent victims for eternal life. Fed up with the Templar priests authority, the village men tracked them down to a gruesome end as the vowed in the throes of death to return for revenge. Buitrago, Spain in 1976, the Templar Priest, decomposed to the bone inside their tattered and dirty ceremonial robes, arise from their shallow graves with a hunger for vengeance and feed upon the flesh and blood of unsuspecting outside partygoers under the moonlight night.

Baring a thin shred of anything approximating a resemblance to Joe D’Amato’s “Erotic Night of the Living Dead” and Amando de Ossorio’s “Tombs of the Blind Dead” from the 1970’s to early 1980’s is Vick Campbell’s “The Erotic Nights of the Blind Dead. Also known as “Graveyard of the Dead” or, in it’s original language, “El Retorno de los Templarios,” is the 2007 Spanish produced throwback to the gothic and erotic ghoulish horror genre that once widely flourished through Europe and parts of South America and has, more or less, been nearly forgotten admirably for decades. “Erotic Nights of the Blind Dead” marks Campbell’s feature and script debut that blends the gothic and the erotic for an entry into the soles (or souls, perhaps?) of considerable shoes to fill and the consensus is Campell’s a size 10 trying to fill out into a size 18 wide but leaving too much wiggle room for missteps.

Campbell, also known Vick Gomez, commissions mostly a Spanish cast of the unknown variety, starting off with Eloise McNought in her breakout performance as the troubled, young Miranda who has been sexually abused by her father and has, somehow, misplaced her husband. Miranda’s backstory has an equal amount of ambiguity as the rest of the cast with bits of family melodrama to piece together her obviously distraught mental state. McNought’s a budget actress at best as she sometimes looks right at the camera in the midst of intense scenes and Campbell has a knack for upskirt scenes with McNought which feels creepy and impertinent to the story. Miranda’s the searched figure for her brother Jorge, Albert Gammond. Gammond, who had a role in Campbell’s short “Violencia gore,” has less backstory as the estranged son of the family and when he arrives to 1976 Buitrago, out of nowhere, to search for his sister, the siblings tango the enigmatic dance of who, what, when, why, and how? Gammond’s few dialogue moments are eaten up by Jorge trying to convince a distressed Miranda he’s her brother and reminding them of the childhood songs they sang as kids. Thais Buforn, Rick Gomans, Anarka de Ossorio, Dani Moreno, Anthony Gummer, Julian Santos, and Jose Teruel co-star.

“Erotic Nights of the Blind Dead” flatters being as an economic version of an Amando de Ossorio “Blind Dead” film, which centers around the vile and wretched depravities of the ghastly Templar Knights ethos and while Campbell captures the essence of the Knights and their menacing macabre presence of soiled garbs and persistence, the attention to the rest of a, literally, non-story is hastily slapped together or stuffed with cinched time wasters. The first half hour involves nothing more than Templar Priests roaming the countryside, flogging with an endless crack of a whip those who they deem dissident. The Knights’ whip must be malfunctioning as it could not rip flesh or break the souls of man until well into the lashing that mercifully warrants an edit for some bloody, but still steadfast firm, scarring and sheered rags. I felt the floggers arm and shoulder pain with such extensive beatings. Next, the majority of the second act consists of Jorge pleading with his sister Miranda to listen to him and convince her about his brotherly love and bring her back home. At this point, flashbacks of her father’s lust for her are introduced to backstory Miranda’s despair; the smoking gun catalyst finally rears a father-daughter rape-incest ugly head in act three when the Templar Knights have resurrected for blood thirsty revenge and gives some context of Miranda’s blabbering incoherency in the middle of the dry Buitrago landscape; yet, Miranda’s daddy issues hardly explain why the Templar Knights have returned at this point in time and just want the undead Knights tend to accomplish with their revenge at hand. In fact, there’s no explanation given at all…they just return and rampage. Campbell extends upon the risible execution of an Amando de Ossorio film by inverting scenes that are the same shot just in reverse, utilizing a single ambient track over and over again on multiple scenes, and countering whatever shred of terror from the Knights with an easy way out of unexplained reasoning for their befuddling demise. Almost as if Campbell didn’t know how to end his film and gave up with a snap of his fingers. Who does he think he is, Thanos!?

“Erotic Nights of the Blind Dead” lands DVD home video distribution from MVDVisul and Wild Eye Releasing on their Raw and Extreme banner. More raw, then extreme, Vick Campbell’s gleaming debut homage offers no eroticism either on the region free, 70 mintue runtime title, but, rather, lingers over incest and whipped-bloodied breasts of slim illicit pickings and suggests the title was more a ploy against “Graveyard of the Dead” to gain buys. The picture is presented in a widescreen format, but suffers from horrible color banding and severe compression issues that nearly make this title indiscernible like an aged or scores of duplication VHS transfer. The Spanish language stereo track also has flaws with speckled quality and coarse feedback at times due to bad mic placement. As aforementioned with the repetitive ambient and score tracks, range and depth do not reside with these versions of the Templar Knights that are probably inundated in a violent anguish of the same loop of rattling chains and heavy breathing. To add salt to the audio wound, the English subtitles are riddled errors such as Obbey instead of Obey or Swete instead of Sweetie. Special features include a behind-the scenes segment of ho-hum production takes, deleted scene, and Wild Eye trailers. One thing I think might be interesting is actress and executive producer Anarka de Ossorio who, I can’t confirm, might have some relation to Amando de Ossorio; the idea would be neat if his legacy still lives on through his kin. A brooding atmosphere from beginning to end, “Erotic Nights of the Blind Dead” has little else to offer under a guise to link itself to legendary Euro-trash gold, but filmmaker Vick Campbell detrimental diegesis could tarnish the very jeweled films in which he attempts to honor.

Purchase Erotic Nights of the Blind Dead on DVD!

EVIL Suplexes A Group of Campers on the “100 Acres of Hell” reviewed!


Former high profile wrestler Buck Sever finds himself in a world of personal hurt. After a family tragedy and a derailing injury, Sever’s stuck in what’s left of his life with not much reason or motivation to pick himself back up. High school friend Trent Masters organizes a bros weekend on an urban legend infamous game preserve called Foggy Creek for some drinking and hunting, but even his so-called friends exploit his celebrity status to attract women and gain personal benefit. They spot themselves right in the heart of the game preserve said to be notorious for backwoods murders committed in the 1960’s at the hands of local legend Jeb Tucker. Blowing off the mystery shrouding Foggy Creek, the four friends soon find themselves face-to-face with a mask killer with immense strength that equals Sever’s and there’s no stopping his onslaught of spilling weekend warrior blood.

Wrestling is a multi-billion dollar global juggernaut with a fan base like no other and as an industry has seen a steady increase in popularity that spans over decades. The sports iconic wrestlers are idolized by many adoring fans who hold up supportive signage at matches, imitate their trademark finishing moves with friends on makeshift rings, and even sport their merchandise while throwing out their favorite wrestlers’ memorable gestures. The sport has been become so engrained into our culture, movies like Mickey Rourke’s “The Wrestler,” that show the downtrodden life of a has-been wrestler, can be nominated and win major studio awards, such as an Oscar or a Golden Globe, and wrestlers have been seeping into the film industry that’s now at a raging pace where the professional body slammers are some of the highest paid actors, such as the established Dwayne “The Rock” Johnson and John Cena. However, not every wrestler can be a glamourous super-stud in the cinematic universe. That’s the case with “100 Acres of Hell” directed by Hank Leigh Hump and starring 6’8″ Gene Snitsky and Samula “Samu” Anoa’i. Produced and penned by Snitsky, co-written alongside with Ed McKeever (“Bikini Girls Vs.The Surf Wolf”) and Jason Koerner (“Zombie Death Camp”) to enthrall a survival, campsite horror set and shot in the rural backyards of Pennsylvania.

Snitsky, retired from professional wrestling in 2018, turns to acting late in his career with his entry into the indie circuit. He portrays Buck Severs, a gargantuan man in a tragic life slump, whose seems like a harmless, gentle giant with a group of eccentric and callous group of friends that treat him poorly despite their best intentions. Snitsky’s has moments of genuine truth in delivery and body language, especially for crowd performer. Jim Roof plays one of his friends, Bo McKeever, a sordid white liar of a car salesman always looking to score between two legs. I remember Roof from his role as a snuff filmmaker in another film with “100” in the title – “House with 100 Eyes.” Roof’s funny and likable alongside Snitsky, but the other half of the “Bros” weekend pack droll with weak characterizations despite decent performances from Jeff Swanton and Ernest O’Donnell (“Jay and Silent Bob Reboot”). Both their roles fall flat by running out of steam when the potential is at the peak of flowing through their veins and unfortunately fizzle before they can be an pivotal means to an end. Catherine Corcoran (“Terrifier”), Meg Carriero (“Return to Return to Nuke ‘Em High Aka Vol. 2”), Bob Cleary (“Shadows of the Forest”) and Eileen Dietz (“Halloween II” remake) round out of the cast.

“100 Acres of Hell” sounds like a tour de force of forestry fury coupled with two ex-wrestlers and a backwards, backwoods, hillbilly killer without a cause, but that is where the pipe dream ends and an enigmatic reality sets in. The banter between the friends is palatable and, dare I say it, amusing at times and the camping setup, though trope-conventional, is braced with a solid foundation and a good catalytic promise of beer and urban legend to get things moving toward Foggy Creek. Where “100 Acres of Hell” ultimately falters, in a pair of places, is around the second into the third act as characters are quickly whacked from the story like the combat denizens of the second Mortal Kombat film – “Annihilation.” Jeb Tucker literally wipes the floor with the unlucky campers and their guests like an inbred super Shredder. Secondly, Hank Leigh Hump’s directorial debut is coherently challenging, an unbalanced execution, and a character imploding mishap that shapes “100 Acres of Hell’s” latter half into a struggle to comprehension. Hump’s film feels and looks incomplete from this perspective as if the post-production quickly finalize the project with blind haste and willy-nilly attitude.

“100 Acres of Hell” is a Jersey Lights and Screenshot Entertainment production paying homage to the Golden Age of slashers in the 1980’s with a masked killer and a high body count. The home video distributor, Indican Pictures, released the DVD and the digital streaming services this past October. Unfortunately, a screener copy was provided from this review and a full critique of the image and audio quality will not be covered. As far as bonus material, the screener contained a static menu with Indican Pictures’ preview trailers and a chaptered scene selection. Two former WWE wresters battle out of the ring and onto the screen with a retrograde slasher, “100 Acres of Hell,” but can’t pin down a 1-2-3 count for a win. Alternatively, if looking for the summit version of Jeb Tucker’s personal hunting reserve, a digital “100 Acres of Hell” comic from Swampline Comics offers a colorfully pulpy rendition of Tucker’s brutal adventures in slaying and enslaving campers…something the movie could not provide.

Dare to tread of “100 Acres of Hell!”

The Lord Examines the Righteous, but the EVIL, Those Who Love Violence, He Hates with a Passion! “Holy Hell” reviewed!


Father Augustus Bane is a go-by-the-book type priest and through his unlimited optimism and passion, grudgingly turns the other cheek when life’s bitterly cold callousness bends him over a barrel and pulls his hair until bruised and raw on that very same turned cheek. When the God dedicated man of the cloth is pushed too far after the merciless slaughter of God worshipping parishioners and he is left for dead by a gang of demented family members, the surviving Father Bane is reborn and becomes destined to a vindictive life path with a six-shooting revolver he baptizes as The Lord. Hell hath no wrath like a priest scorned to obliterate all sinners from every walk of life in a blaze of the almighty glory (and gory) of The Lord and those explicitly responsible for the death of his congregational followers and much of the city’s crime and corruption will have nowhere to hide from their lethal penance.

What could be considered as the pious Punisher on steroids, Ryan LaPlante’s offensive-laden, satirical grindhouse exploitation feature, “Holy Hell,” is a confirmation of that films like LaPlante’s are sorely needed and pleasingly free in speech inside the dominion of today’s sensitive and politically correct cultural society. Surely not a product of the U.S. and will certainly piss some viewers off (especially zealots), this Canadian made production could only exist outside a conservative dome, looking inward for a weakness to seep and taint the sometimes too wholesome American cinema market that’s tiptoeing around what should expressively blunt and in your face. Let’s face it, folks, it’s a movie! LaPlante writes, directs, and stars in this movie of comedy, action, and exploitation that’s even too controversial for some of the supporting cast who used pseudonyms, such as punned Yennifer Lawrence and Zooey Deschansmell, as their stage names because of the deviant material.

The man with many hats, Ryan LaPlante stars as Father Augustus Bane, a cheerful priest with a firm belief of charity instead of violence, and as LaPlante’s first and only feature as a writer and director, “Holy Hell” snuggly fits the filmmaker’s contemning, vindictive, “autistic rage monger,” as another character described accurately. Satirically stoic, Bane reminisces the days of yore when severely slighted protagonist broke and the endured trauma became a journey of eye for an eye, tooth for a tooth. LaPlante, whose career pivoted to the video game world and could so seamlessly, understood the mentality of once was with harden, good men turned relentlessly anti-heroic. Father Bane’s opposition had parallel penchants of aggressive stamina, but in a more deplorable and deviant calling. The MacFarlane family is about as coarse and as ruthless as they come ran unflinchingly by Dokes, the head of the family, with his wild eyes and skull earring atop his fishnet undershirt and open Hawaiian button down. Dokes is truly satanic as a ravishing villain from in co-producer’s Michael Rawley’s in his sardonic performance of the father of three. The “Disco Pigs” actor revels as Dokes in not only being the kingpin, but also a special daddy to his three rotten and just as maniacal kids – Trisha (Rachel Ann Little), Buddy (“Red Spring’s” Reece Presley), and, the more flagrant of the trio, Sissy, a labeled sadistic he/she of boundless perversion and a flair for the theatric played vivaciously by Shane Patrick McClurg and McClurg’s Sissy MacFarlane is difficult to dislike and is favorably one of the best and best portrayed characters alongside Father Bane and Dokes MacFarlane. The entire “Holy Hell” cast amazes as deviant delectation and round out with love interest Amy Bonner played by Alysa King (“Slasher” television series), Luke LaPlante, and Austin Schaefer.

While “Holy Hell” trails the established trope about a vindictive good man, a thrilling theme consisting inside half the grindhouse genre films of 70’s to 80’s, Ryan LaPlante doesn’t really offer much new to audiences whom are well versed; however, since “Holy Hell” is one big punch-to-the-face nod toward grindhouse and the filmmaker constructs a complete caricature picture, the shocking, the disgusting, and the hilarity mold almost an entirely new brand of grindhouse or, as I’ve coined, mockhouse. A mock-grindhouse film have natural degrading quality where filmmakers remain on the fray of getting the right look and feel of a grindhouse film, but LaPlante accomplishes the task, echoing the effect while adding his own brand of comedy. Also LaPlante’s bludgeoning of taboo is no holds barred comedy, especially on surface level narratives such as with Father Bane who has a tremendous arch to hurdle as a priest fueled with guilt and rage against an army of inhuman and derange psychopaths, plus all the other miscellaneous miscreants roaming the streets at all hours of the day, but the script is penned like the Divine retribution as the priest endures, almost in a supernaturally reborn or resurrected kind of way, after being shot six times in the form of a cross by Dokes that, ironically, acts as a blessing for Bane to declare war on evil.

Indican Pictures presents a Rogus Gallery production with “Holy Hell” onto a not rated DVD home video. The widescreen, 16:9 aspect ratio, has a warm toned coloring grading from digital grader Defiant and also embellishes the natural grain and blemishes to assimilate into the grindhouse collective. “Holy Hell” is intent only appealing to a comic book illustration that makes definition fuzzy, but not totally cleared from the playing field. The closes up of the gore is nicely displayed with a drenching and gruesome effect. I couldn’t detect a lot of girth from the Englih language 2.0 stereo track which makes me think LaPlante intended on suppressing much of the ambiance and up the soundtrack quality from composer Adrian Ellis, whose upbeat, synch-rock has killer intentions whenever the MacFarlane’s are rolling heads. DVD extras include a director’s commentary and a blooper reel. Chockfull with affronting one liners, “Holy Hell” is utterly sound being well-rounded with the best intentions paved in hooker blood and indecent exposure, as well as being highly entertaining, in one holy redeemable package of horror exploitation blessed by Ryan LaPlante himself.

Enter Into Your Darkest, Evilest Fantasies. “We Are The Flesh” review!

screen-shot-2017-02-25-at-8-55-19-pm
Struggling to survive the conditions of the outside world, a brother and sister locate shelter inside a desolated complex and stumble upon it’s strange inhabitant, a solitary middle-aged man named Mariano with a penchant for welcoming his insanity. The alcohol distilling and isolating embracing Mariano has a twisted offer for harboring the young siblings as he also puts the two to work, constructing Mariano’s trash-ridden home into a cavernous structure from taped scraps of lumber and cardboard. Mariano desperately needs them to explore unorthodox depravities upon themselves to become one with their unhinged host that forms, in more than one way, one flesh-ravenous happy family.
screen-shot-2017-02-25-at-8-51-52-pm
“We Are the Flesh,” aka “Tenemos la carne” in the original title, is an experimental art house feature from controversial Mexican director Emiliano Rocha Minter. The 2016 film harbors more than just three hermit individuals dipping their toes into a forbidden pool of acts, but also provides numerous metaphors and symbolisms that might be hard to swallow and difficult to sit through during the 79 minute runtime. “Sin Nombre” actor Noé Hernández stars as Mariano and there isn’t enough praise in the art house world from his performance that consumes his mortal being, transforming him into a well oiled psychotic machine with a blazing stare, a certifiable grin, and a defined muscular physique. Hernández steals scenes left and right from his young and novice co-stars María Evoli and Diego Gamaliel, whom are equally as brave as the more experienced Hernández in their respective roles. “We Are the Flesh” emits racy undertones by just hearing the title alone and, absolutely, lives up to the title’s very core by displaying non-simulated sex acts. Think about it. Minter’s film only has three main characters for most of the narrative and two of them are siblings. Yup, Minter went the incest route for the sake of art.
screen-shot-2017-02-25-at-8-51-43-pm
In the opening scene, heavy breathing creeps upon a black screen until the image pops open to a Mariano’s face, laboring over something. Next cut is Mariano hunched over with a high stack of baled cardboard, walking in the color tone of a dark cool blue with a slight haze engulfing him. This opening scene is one instance where Mariano is portrayed the Messiah prophet Jesus. Other religious symbolistic events that connect Mariano, who would be condemned for his actions in the Christian scope, to Jesus that occur throughout, such as being dying and being reborn, the cave aspect, the motifs of faith from the mysterious eye dropper liquid, and being the sacrificial body as if transpiring to be some sort of demented wafer during a crazed cannibal communion orgy. Of course, opening anybody’s eyes or mind to this notion can be immensely difficult and profanely sacrilegious to even spell it out in text because seeing the streaming drug use, the attempted murder, the cannibalism, and the sibling incest rule the majority of the narrative makes a case that affiliates more with an unholy antichrist rather than Christ, but I believe director Emiliano Rocha Minter, being a Mexican national and growing up in a Catholic, like the majority of Hispanics, culture aimed to blur the lines between the heavens above and the fires below and embodying them as a singular whole.
screen-shot-2017-02-25-at-8-51-34-pm
Intrinsically irrational and insatiably grotesque, “We Are the Flesh” has momentum in a colorfully abrasive form, quickly evolving from act to act with characters reemerging anew every second onscreen. What might seem as a visionless quest for the sole purpose of producing shock value can be re-construed as a message more aesthetically beautiful in man’s most detested nature. Yollótl Alvarado’s cinematic vision is absolutely dripping with gripping, mature atmospherics that are well doused in vividness while, at the same time, being despairing in a post-apocalyptic haze. The experience charges at you, pulls you into this cavernous womb, and scratches at your tender barrier lining, trying to sneakily slip into your soul. The sensation is as much unreal as the film’s avant-garde structure.
screen-shot-2017-02-25-at-8-54-38-pm
Produced by production companies Piano, Detalle Films, Sedna Films, Estudios Splendor Omnia, and Simplemente, “We Are the Flesh” is a poetic approach experimental wonder, gratifyingly brought to home entertainment fruition from Arrow Films in the United Kingdom and Arrow Films, in conjunction with MVD Visual, in the United States on Blu-ray and DVD. Between Lex Ortega’s brutal social commentary gore-flick “Atroz” and Emiliano Rocha Minter’s art house metaphor “We Are the Flesh,” Mexican filmmaking stands high and bold, unafraid to tell unapologetic stories in conservative societies; a mere taste of what’s to come, I’m positive. While recommending this type of film isn’t the easiest for status quo movie lovers, “We Are the Flesh” hopefully will expand minds, open eyes, and encourage skin-on-skin contact for the cinematic adventurers.

“We Are the Flesh” available in USA! and in the United Kingdom!