Sharks? Who Gives A Sh*t About Sharks When EVIL Clowns Storm In! “Clownado” reviewed!


A sadistic carny ringmaster and his troupe of malicious clowns put on a traveling circus act through the America midwest. When an unfaithful lover challenges the powerful lout, he and his painted-face company exact a punitive act against her for all the crowd to see and enjoy and in bitter return, the scorned woman invokes a witch’s spell to summons evil forces to pluck the ringmaster and his clown lackeys up into an unordinary whirlwind. Trapped inside a super storm, the clowns use their newfound and unintentional given powers to funnel a tornado for spreading massive destruction through their cyclonic path of vengeance, terrifying a handful of ensemble midwestern survivors to fight back against the merciless and murderous clowns.

Clowns are so hot right now. From the success of Stephen King’s “It” remake and the subsequent sequel to the re-emergence of Batman’s notorious foe, “Joker”, in a controversial origin film, the carnivalesque buffoons are at the height of their inhuman malevolency since the late 1980’s saw Jack Nicholson donned the makeup as a crazed lunatic with a penchant for nerve gas and extraterrestrial clowns invaded Earth to harvest people and snack on their blood. Adding director Todd Sheets into this era of clown renaissance and outcomes the carny carnage gore fest, “Clownado,” straight from the big top. As an obvious pun on the “Sharknado” franchise, the “Dreaming Purple Neon” and “Sorority Babes in the Dance-A-Thon of Death” director pens and helms another blood drenched, apocalyptic, cine-schlock of callous proportions and unparalleled in content funded by Sheet’s production company, Extreme Entertainment. With a production company tagline of Movies with Guts, Sheets makes good on his delivery with an up close and personal spew of geysering blood sprays, severed gushing limbs, and guts, lots of guts, that’ll run any clown’s makeup red while dousing each feature with action and fun.

How do you hire a cast to garb themselves as maniacal clowns, have them portray being supernaturally charged with meteorological phenomena, and wreak havoc down from the heavens with a tornado vessel just to rip people to shreds all the while laughing their heads off? Easy. You employ the entourage familiar with your brand of Mccobb! John O’Hara, Antwoine Steele, Dilynn Fawn Harvey, Rachel Lagen, Jeremy Todd, Millie Milan, Nate Karny Cole, Douglas Epps, and others have worked previously with Sheets in these flicks, but not limited to: “Sleepless Nights,” “Dreaming Purple Neon”,” “Bonehill Road,” and “House of Forbidden Secrets.” Mix to blend some well churned budget horror talent, such as “Return of the Living Dead’s” Linea Quigley as an angst-y bar/strip club owner and “Brainjacked’s” Joel D. Wynkoop as a fearless flyboy, an already colossal cast becomes an gargantuan cogency of tacit talent and to top it off, how about an former porn star amputee? Jeanne Silver, or better known in the industry as Long Jeanne Silver of “Debbie Does Dallas Part II”, bewitches the screen as the spellbound caster and she didn’t even have to penetrate anyone with your missing fibula of a leg. The one actor that really sought the affable nature in us all is Bobby Westrick with the charming redneck Hunter Fedelis. Westrick, who hasn’t been in a movie since Todd Sheets’ “Goblin” back in 1993, returns in 2019 to be one-time alcoholic lowlife to a world savior from clown devastation; Hunter’s an overall gentlemen despite his straggly, rough appearance and beat up old straw cowboy hat and doesn’t live one person behind while also befriend a black man impersonating Elvis Presley in town has unexpressed racial prejudice. The cast also includes Sierra Stodden, Eileen Dietz, and a Cayt Feinics who seemed to just love caressing her blood soused breasts more than the next woman.

I get what Todd Sheets has erected here being the ringmaster of a dementedly dissension in the circus of blood. The capitalizing idea of clowns twirling and terrorizing through a maelstrom flash of fluorescent, like of SyFy sharks in that popular six installment franchise, is indie kitschiness at it’s finest and couldn’t be more perfectly timed after the release of Joaquin Phoenix’s “Joker.” “Clownado” is a fun windstorm of gore and carnival surrealism. Sheets continues to deliver as promised per his production company and is still able to sustain relationships with his usual clowns – such as my stoic favorite, Antwoine Steele, and his role dressed arbitrarily as the King of Rock and Roll – while providing chuckles, sparks, and bimbos galore and, no, I don’t mean clown names. With any Todd Sheets production, the practical effects are innovative and dastardly with highlights including breasts with teeth instead of nipples, heart replacement surgery with a block of ice, and head explosions!

MVDVisual and Wild Eye Releasing doesn’t clown around with Todd Sheets’ “Clownado” that lands onto DVD home video in a widescreen, 1.78:1 aspect ratio. In light of microbudget limits, the digitally shot film has some issues, such as color banding, and then there’s also the visual effects that come straight out of the stock footage file and then matted over with assertion on the first run; however, Todd Sheets been doing this for decades and I’m sure if the director wanted his production and post-production to be first rate, he’d be like Picard and make it so. Yet, disappointments are a part of life and the biggest disappointment by far is the over saturation of purple tint to lay down an ominous killer vibe throughout the night scenes of the 99minute run and the tint completely dilutes the vivid face paint, or in the clowns’ case war paint, and also turns blood into a black and magenta farcical gas. The English language audio 2.0 stereo track, complete with closed captioning available, has great clarity and often doesn’t seem as tumultuous as would be expected. The mic had on point placement to hone in on every wisecrack and pun known to clown-kind. Bonus features include a commentary track with Todd Sheets, behind the scenes, a featurette entitled “The Human Hurricane, and Wild Eye Releasing trailers. From a meteorologist standpoint, weathering through “Clownado” might be a downpour of rubbish, but for those who live vicariously through Todd Sheets’ repertoire of campy, no-budget, gore films, “Clownado” is a beautiful black-comedy day for a stroll.

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The Scene Isn’t Over Until EVIL Yells Cut! “Incredible Violence” reviewed!


After squandering a shady investment group’s money, a struggling filmmaker stages a last attempt effort in writing and directing an all-out and profitable horror movie. Isolated on a stretch of private land sits a house which his movie will be set. The director installs camera monitors, archaic printers in each room, and fashions a room for himself in the confining attic space, turning the house into a platform for five young actors to perform at his instructional, omnipotent influence without having to ever personally interact with the actors, a group he strongly loathes. His despise for actors and the financial pickle he finds himself in with shark investors places him at the centerpiece of his slasher film as the masked killer. With the stage set and the actors all in place, the directing maestro helms unsuspecting actors to their violent deaths in the name of art, self-preservation, and actor genocide.

As a film that turns the slasher mythology on its head, G. Patrick Condon’s “Incredible Violence” is a serrated vision of bleak, dark comedy too sharp to really fully digest and that’s okay. Filmed in Canada of 2018 and released this year on SVOD from The Hunting Party Inc., production studio, “Incredible Violence” strays away from the young, naive victims points of perspective and opens the path up for a nihilistic killer to control the narrative around his desperate motives. Though having complete control over most of the factors and planning ahead of time, “Incredible Violence,” as a partial comedy, folds miscreant mishaps and caricatured flaws on top of, indeed, incredible violence and while that vehemence is focused primarily on actors as a while, a good portion pivots and breaks down even further to the individual level that can be personal and can be insensitive for women who have to best themselves, sometimes together and sometimes separately, against two different antagonistic foes of the opposite sex.

The largely based Canadian cast begins with Stephen Oates playing the hack director and self-imposed killer, named after director G. Patrick Condon, of the titular film and though that might seem egotistical of the Condon, enough humiliation smothers the self-assuring and struggling character to the point of utter satire with even going as far as poking fun at his last name in a brief quip of dialogue. Oates, who has starred alongside Jason Mamoa on the historical Canadian action Netflix series, “Frontier,” is an intriguingly no-shame filmmaker who hustles together a plan schemed to save his life. Sporting a wife beater, long fur coat, and an unadorned mask, Oates exhibits Condon perfectly as a hack artist in filmmaking and in being a badass serial killer. Then there’s Grace, the lead character bound for stardom as an untrained actor taking a role in, what she considers, a performance art film and naively goes into the project with such gusto that she blatantly ignores all warning flags from the beginning, a role very well suited by the striking eyes of M.J. Kehler. Grace endures shots left and right, from friends and foes alike, as a hopeful artist, but like “Incredible Violence” shows, a true inclination comes out of people when push comes to shove and Grace, through Kahler’s physical bombarding of a final girl trope, doesn’t need acting school or any other doubters to trump her will, passion, and ferocity. One scene to note is between Foster, Kahler, and Kimberly Drake and Kahler’s Grace is just stricken by fear over being ask to kill someone, she’s screaming and is essentially rooted to her spot. The moment is grippy and terrible empathetic to know that true fear does freeze one’s fundamental functions of survival and of morality. “Incredible Violence” co-stars Michael Wotherman, Kimberly Drake, Erin Mick, Meghan Hancock, and Allison Moira Kelly.

“Incredible Violence” bursts with a talented cast with deserving of a curtain call performances and lives up to the title with incredible, if not whole heartily gratuitous, violence and some brief macabre nudity, but Condon’s story has a lot of zeal that doesn’t properly switch tracks when characters break under their obscure tormentor’s direction. Condon, the director, builds the tension more through the repetition of violence with a slight tweak every time rather than crafting a breaking point, a catalyst that dissembles sanity and refigures patchwork insanity, making characters alliances difficult to place that ultimately crumbles the dynamics into just a bunch of people beating each other to a pulp. The same kind pivoting told differently can be said about the strange, public television show Celebrity Autopsy paralleling as intra-story that often feels disconnected to Oates and his film. I guess with a film entitled “Incredible Violence,” a substance merit to the narrative would be a long shot, but as an exploitive, self-described meta-horror centerpiece, “Incredible Violence” is made up of all sorts of gut-checking goodness with torture, madness, and cynicism helmed by sadism without the presence of slasher-esque, blank evil.

1091 Films, in partnership with G. Patrick Condon’s The Hunting Party Inc., presents “Incredible Violence” that runs 89 minutes onto a plethora of media streaming platforms, such as Amazon Instant Video, iTunes, Google Play and Vudu, and on-demand cable services. Unfortunately, “Incredible Violence” is a streaming only feature so image and audio qualities will vary across streaming devices. There were also no bonus material or special features present, but as an extra tidbit about production, the film took approx. 2 years to complete with the unpleasant misfortunate of one of the original cast members passed away during rehearsal. This forced the script to be re-written, delayed, and ultimately triggered G. Patrick Condon to write himself, as a character, into the script. Futhurmore, the cast and crew had agreed to stay in the house set location until filming wrapped which resulted in some actual anxiety and stress to spill out into the performances. Contextually sound in the confines of violence, “Incredible Violence” finds footing staggering abroad the cascading carnage of horror-comedy with a single character arch involving making it big in the acting world only to just make it out alive and in one piece of this film.

Stream “Incredible Violence” on Prime Video

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!

A Charlatan Who Surrounds Herself With Evil! “Vampz!” Review!


After countless interview screenings, Simone struggles to find a suitable roommate just like herself with an insatiable longing to be one of the undead, specifically, a vampire. As she strikes out applicant-after-applicant, her twin brother Sam persuades her to lock in on Ashlee, a beautiful, yet energetically ditzy cheerleader new to town who shows up late at night looking for a place of her own and with looming rent bills sucking her dry cash, Simone begrudging agrees on the dimwitted and un-vampiric prospect. Unbeknownst to Simone, one of her former screenings turns out to be a coked out vampire hunter and with Simone declaring herself a vampire during the screening, the oblivious and hopped up hunter’s ability to distinguish between the real McCoy and a wannabe has severely disintegrated as he aims to drive a long, wooden stake through her heart, but when the Hunter comes to claim his bounty, he inadvertently teams up with Simone and Ashlee against a tenebrous conspirator with a penchant for control of ghouls and monsters to not only save their lives, but also their friends.

“Vampz!” is the filmic version of a chaptered web series, that found a crowdfunded presence from circa 2012. Much like in the same vain as the “Hell’s Kitty” DVD release, “Vampz!” didn’t partake in any re-imagining, re-shoots, or even a re-cast for the movie; in fact, the so-called 2019 movie, helmed by director Ramsey Attia and scripted by Omar Attia and Lenoard Buccellato, is actually the web series spliced together to construct a 76 minute feature. To maintain comedy integrity that calls for hyperbolic reactions, profanity heavy dialogue, and some really nifty and amusing pop cultural intertwining, like Queen’s Bohemian Rhapsody dialogue rendition had me biting my smirking lip in assurance, Attia and Buccellato’s script never deviates from course. There’s are also other subtle homages that can be easily identified throughout. Between the TV web series and the film, no cast alterations or implementations have been made and so all of the established humor from the web series is still engrained from the actors and having never seen “Vampz!’ the series, gauging what, if any, soul from the original product is lost in the nearly decade old translation cannot be confirmed, but “Vampz!” has resilient comedic bite, going for both canine fangs into the throat in the face of being an independent picture.

Lilly Lumière at the forefront with her character Simone Castillo, an aspiring bloodsucker in all its fashionably formulaic vampire glory without being the recently bastardized Hollywood version a.k.a. “Twilight” trilogy, becomes the eyeliner nucleus of the story. Lumière presents an eye rolling, goth decked out quasi-vampire with a die hard approach to the banal side of the vampire mythos. Simone becomes the BFF target of Ashlee, who from the depths of the night shows up at her doorstep seeking the room for rent. Ashlee doesn’t seem to be Simone’s type, a high-spirited cheerleader tryout who is new to town; in fact, Ashlee represents all that is distasteful to Simone’s undead facade. Christal Renee has the vivacious personality type to pull the give me a S-U-P-E-R hyped Ashlee! Then there is Denis Ark as psychotic vampire hunter Marcus Denning. Ark is not just certifiable on screen, but he’s also certified off screen as a personal fitness trainer. With 20+ years in martial arts and sports training, Ark tackles the moderately physical role with ease and provides some point blank comedy. “Vampz!” remaining cast of misfits include Louis Rocky Bacigalupo, Guy N. Ease, and Cliff Hunter.

Shot in Peterson, New Jersey, “Vampz!” has a very Jersey feel, not to be confused with having an Italian Jersey Shore feel, despite being just a hop, skip, and a jump across the water from New York and even with that chip on the shoulder emanating from off of the screen and on the penny-pinching, crowd funded budget, the web series is without a doubt well done. The humor is touch and go with some misguided antiquation, but the effects capitalizes over that portion of content, especially when a creature or two appear for their grand entrance into the storyline. “Vampz!” has solid special effects working heavily to lead the charge into turning what could have been ho-hum film into a quasi engaging creature feature that deviates from the staggering conventionalism and genre tropes.

MVDVisual and Ruthless Studios sinks their teeth into the A Rear Naked Studios Production of “Vampz!” releasing the Ramsey Attia horror-comedy onto DVD home video in its full web series storyline. Presented in a widescreen, 1.78:1 aspect ration, the region free disc picture doesn’t provide a flavorful presentation. Attia and his team went faux grindhouse approach by adding grain and “missing scenes” on a pseudo-polyester film base, but the film looks washed and uninviting with droll hues. The English language dual-channel stereo track lies above the fray image with ample range of ambient sounds and a prominent dialogue track. Depth hardly comes through with most of the ambient remaining on a level plane that doesn’t resonate elsewhere from between outside and inside the finale factory or in between room-to-room. There are no bonus features included on this DVD that has curious cover art. Front cover pictures a badly photoshopped composition of a short red haired woman wearing an boxy amulet overtop a cutoff top and drinking blood out of a martini glass with a plastic straw. There’s also a white snake wreathed around the V and A of “Vampz!” and the same snake is also wrapped around the shoulders of a silhouette figure on the back cover but there are no snakes in this film, nor is there an high class, red-headed vampires drinking blood out of a martini glass so the cover is misleading. “Vampz!” garnishes heart and soul of the modern classic horror creature while adding a cascading charm of moderate-to-light hearted comedy to mask the rough edges of a home grown brew grindhouse film thats bemusing to perceive from a deceptively cheap DVD cover art.

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Evil Loves a Good Plot Twist! “Open Wound” review!


In the moments before attending a pool party, apparent strangers-to-acquaintances, a distinguished, if not quirky man and a promiscuous, self-involved German woman, withdraw to a secluded building in order for the brazen woman to shave the bikini line exposed excess hairs before strapping on a suit. Their intricately deep discussions about desires, sex, and kinky foreplay fair nothing more but course, blunt banter between two familiarities, but when the woman pretends she must be tied up and punished for playfully biting the man’s ear until bleeding, the next few moments after fall into a state of obscurity of a he said, she said rape accusation. As confounding declarations are made and fingers are being pointed to decimate lives, a sack of deceptions and an abundance of threats accrue through a blackmail scheme and an abduction based vendetta. Nothing can be certain and no one can be trusted between the two, but one thing is definite, a third man watching from afar has nefarious plans of his own.

Like sitting front row at a bastardized version of an off-broadway show, “Open Wound” is an immaculate stage performance of battered psychologies and visceral deceptions from writer-director Jürgen Weber. The thriller, also known as “Time Is Up” or “Open Wound: The Über-Movie,” measures extreme lengths of human bitterness while constantly shapeshifting into plot twist after plot twist aggregated with clusters of popup violence. The Chinese born Weng Menghan, under her moniker Tau Tau, is the financial backer of “Open Wound. The globetrotting author makes her breakthrough imprint into the feature film business that modestly begins with an opening scene about anal sex among other verbal sexual references before man versus woman fisticuffs and a pivoting third act that rapidly alters character compositions into, essentially, a free for all. So metaphorically speaking, a Chinese producer walks into a bar, sits onto a stool next to a German director, and orders one of the more absorbingly chic cocktail thrillers in English. “Open Wound” is a melting pot of cultural influences and a display damaged egos that’s simply brilliant.

“Open Wound” has a short character list comprised of three characters. The first is woman who is introduced first, or rather her lips do when she declares her love anal sex and the parallel criteria for types of cars in one man’s garage, as she’s using a straight razor to trim the dark haired pubes from her bikini line. She oozes eroticism like a bodily fluid that gravitationally seeps from between the legs, spilling innermost desires, whims, and historical sex-capades with in a philosophical prose. #Nippelstatthetze advocate, German podcast expert, and stunning model, Leila Lowfire engrosses herself into the role of fierce, proud, confident, and strong woman. With an established vigorous sexual prowess, Lowfire culminates the femme fatales and breakneck show-stoppers female roles, notably similar in Quentin Tarantino movies, with high-brow tastes and a debasing reprove. Lowfire’s accent is low and thick and can be considered her weakness here as getting your brain to interpret the fluidity of the words, structures, and compositions is undeniable challenging at times, but acts upon fervor while in her lingerie or even topless throughout the film. The contrast against man is stark. His introduction paints him as unequipped, socially inept, and hopeless desperate. Man longs for Woman, but knows he doesn’t have a chance with her until she offers up a random game of role-play that inevitably leads to disarray. Jerry Kwarteng’s man performance is systematically peerless and a complete joy. Even if the character lacks depth, Kwarteng’s range is devilishly good with the only comparison coming to mind would be James McAvoy and his multiple personality disorder in “Glass.” Once Man and Woman comes to terms after a back and forth bout with dominance, the Suicide King’s grand appearance bestows upon the plot an even bigger, clunkier monkey wrench. The Suicide King’s an ex-con, looking for revenge in a small vat of acid, and his mark and him have a long, complicated history which parts personally shock the other. Erik Hanson’s raspy voice, feeble appearing physique, and lofty age has a second row seat to his character’s unwillingness to die, in a slick performance that’s part nihilist and part psychotic to which Hansen pulls off.

Weber’s choice toward “Open Wound’s” narrative layout conflicts with how the DVD release is specifically marketed. “Open Wound” rides the dark comedy pine that is peppered with black tongue-and-cheek dialogue and violence and as will be noted later in the review, the advertising depicts something far more extreme and graphic. On the shock value scale of one to ten, “Open Wound” hovers around a solid five and maybe a seven or eight for the casual popcorn viewer and, personally, I don’t believe “Open Wound” was intended to be a source of utter distress and visual barbarity. There’s brisk lighthearted comedy that softens the blunt force. For example, in the room with the Man and Woman, a record player will every so often, to comically assist in explaining the actions, play the cheesy tune of lounge background music with a singer narrating the character’s every move and also be the voice of between chapter contention or bewilderment. The singing is privy to only the audience just as the twelve chapter titles that offer a mixed bag of sequences that interchange between English, German, and Chinese title introductions, a toilet paper title card in reverse action, and an artistic rendering of chapters titles and just like his title card introductions, Weber also utilizes an assortment of styles to tell his story, whether be a 5 minute sepia, nitrate film burn effect, or day dream sequence, that peers the sudden twists and eruptive chaos between the characters. While the effects work to sensationalize the context, they tend to be equally be nauseating and annoying as a disruptive structure that seemingly doesn’t make sense to the naked eye.

MVDVisual and Wild Eye Releasing distributes Jürgen Weber’s “Open Wound” onto DVD home video as the the 11th spine feature under the Wild Eye Raw & Extreme sub-label. The DVD is presented in a widescreen format and the image quality holds up well, withstanding Weber’s bombardment of stylistic techniques of distortion, over exposure, sepia, and contrast. There’s a little softness around the skin, more noticeably during facial close ups, with a slightly lower bit rate in the compression but still very agreeable detail. The stereo two channel audio channel does the job, but has flaws with Weber’s score have an equal playing field with the dialogue tracks. The audience already has to manage Leila Lowfire’s thick German accent and their ears will also need to try and filter out the soundtrack that’s invasive upon the colloquy. Not much range to warrant mentioning, but the depth was well tweaked amongst Weber’s visual compliments. There are unfortunately no bonus material with the feature, but the DVD reversible insert is graced with a semi-naked and bound Leila Lowfire. “Open Wound” is dangerous, sexy, thrilling, and complicated to say the least, but stamped as a Raw & Extreme film it should not; however, see this film! Director Jürgen Weber’s visionary molotov cocktail of a story is an underground must for arthouse lovers and noir enthusiasts.