Its Just Not Any Evil Film. Its “A Serbian Film” review!


Milos, an aging porn star, struggles to provide for his wife and son. Though still working here and there with mediocre gigs, Milos longs for the glory days as the stud every starlet desires for a scene with, but for Milos, his family comes first and foremost. When an admiring former colleague offers him a meet and greet with a provocative director presenting a contract that would set his family stable for life, Milos assures himself doing the right thing along with the permission from his wife. He meets with Vukmir who captivates with progress pornography art, a new age of adult material, that will be novel and exciting that’s enshrouded with obscurities about who exactly the seasoned star is performing with and what exactly he is supposed to do in this project. What unravels before him is Vukmir’s mad vision that not only breaks every law and moral fiber know to mankind’s sexual nature, it completely obliterates the rules toward sexual deviances in an underground criminal industry that banks on the wealthy’s sordid tastes.

A long time has this reviewer been patiently waiting for the opportunity to screen Srdan Spasojevic’s written and directed multi-country banned film, “A Serbian Film.” Also known as “Srpski Film” in Serbia, the 2010 exploitation that features substantially graphic material with themes of necrophilia, pedophilia, and snuff rarely finds a suitable medium for an uncut presentation as Spasojevic’s feature consistently, and perhaps rightfully so, goes under the governing censorship board’s scalpel to selectively trim the excessive violence, the crude depiction of children, and all the other shocking material that’s rammed unwillingly into your backside. Fortunately, or unfortunately depending on how one perceives artful censorship, the most accessible copy of “A Serbian Film” has limited cuts that total approximately one minute worth of footage left on the cutting room floor to just eek one out from the ratings’ club. Though listed on the DVD back cover as unrated, this cut will be the one reviewed below from U.S. distributors Invincible Pictures and MVDVisual.

How does an actor run with a performance that incorporates vile and degrading perversive qualities and circumstances upon a character? I don’t know and I don’t know how, but somehow Srdjan Todorovic killed the performance as Milos. Todorovic’s veteran filmography credits establish him as a natural switch between characterizations and choking up on the reigns of each facet to achieve maximum reaction. Milos is a physically challenging role with many difficult scenes and Todorovic found inspiration out of thin air; I’m sure the Yugoslavian born actor needed a months’ worth of showers to remove the disgust from off his flesh when the film wrapped. Another complex character is Marko, Milos’ dangerously envious cop brother who chomps at the bit for Milos’ sexual longevity, stellar porn career, and his gorgeous wife. Slobodan Bestic could have passed for a Serbian Hugh Jackman from “Swordfish,” complete with little dangly earring. Bestic’s performance is unnerving, haunting, and downright salacious that waves in and out of a potentially dangerous man with a hankering for carnal informalities. Speaking of which, Vikmur epitomizes the very definition of being a lunatic. The lavish filmmaker has grandeur style with repugnant tastes in content. Sergej Trifunovic puts on the shiny shoes and fancy suits to become the venomous underground kingpin with a torrent of tasteless videos and the “Next” actor really plays the bad guy well, really does a showmanship disenfranchising Milos and those that love him their ability to enjoy free will. The remaining cast include Jelena Gavrilovic, Katarina Zutic, Luka Mijatovic, Miodrag Krcmarik, and Andela Nenadovic.

A unforeseen aspect of “A Serbian Film” that rings surprising is the engrained story of an extremely fallible hero. Srdan Spasojevic proved shocking, exploitation horror doesn’t have to be completely allegorically benign and the filmmaker has even mentioned that his film is a composite piece of abusive power from authoritative figures forcing people against their will, as if spellbound, to do atrocious acts and while these acts might not be atrocious as rape, sexual assault on children, or using an erect penis to kill someone, Spasojevic creates moments where his statements are affirmed. The transition between act 2 and act 3 backs Vukmir against a wall, trying to salvage his star’s contract by debating material that’s good for all. Spasojevic hones in on Vukmir’s raving soapbox speech to Milos about how he and his company govern the country and how they are the backbone of his of the sovereign Sebrian nation, the true delusion of power and the wool over the sheep’s eyes as the action point.

Invincible Pictures, the same folks who distributed Kevin Smith’s “Yoga Hosers,” and MVDVisual present “A Serbian Film” as a re-release onto DVD home video. Presented in a widescreen, 16:9 aspect ratio, the image warrants no mention of issues as a clean picture in a dry-yellowish tint while still maintaining some natural lighting and depth in the gruesome details pop every sensory nodes. Banding problems are faint at best and the edits are what they are sense the film is slightly trimmed anyway. The Serbian language 2.0 stereo mix pounds with a pulsating electronic-rock score and shows the ranging with the screaming, whimpering, crying, and the sloshing of blood and semen fluids. The English subtitles are error-free and have hardline text that make reading them more easily. Though usually bonus features are preferred, in this case, just having “A Serbian Film” alone on this DVD release didn’t feel necessary to have the share the film with the bonus features, creating an intimate moment between viewer and feature. “A Serbian Film” sears a glowing hot lasting impression right into the mind and soul, twisted and perverse in an unfathomable immoral compass too messed up beyond the most descriptive of descriptions. “A Serbian Film” is best viewed alone, without food, and with your sensitivity left outside.

Must-by “A Serbian Film” on DVD!

Gun Woman vs. Evil! “Gun Woman” review!

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A determined doctor pledges revenge after his wife fell victim to a crazy, sadistic, cannibalistic, sex-fiend killer. Known by only the Mastermind, his quest lures him to buy a junkie from an underground trafficking organization and trains her, without given her a choice, to be an lethal assassin. The Mastermind teaches her hand-to-hand combat, how to handle a handgun, and even how to survive surgical procedures in order to have the mechanical parts of a handgun implanted into various portions of her body and then abstract the bulky pieces when the time is right. The dastardly plan for assassination comes to fruition when the Mastermind’s target makes his rounds at a necrophilia and cannibalistic business called “The Room” where Gun Woman feigns her death to infiltrate and carry out the hit.
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“Gun Woman” is an insane Japanese action-thriller concept from the mind of a relatively new director Kurando Mitsutake. From this reviewer’s point of view, Mitsutake’s film is much more tame compared to the other numerous Japanese’s extreme and unthinkable plot lines. Basically, the Japan film industry produces three solid genres that hover around outside the realm of their mega-popular Japanese Adult Video and Pinku markets: Dramatic noris involving a various range of characters from gangsters to samurais, the Americanized popular ghost films such as Ringu or Ju-on, and the outrageous, ultra-violent films, spreading amongst various sub-genres from action to horror. “Gun Woman” suits the latter category with it’s necrophilia, super-soaking blood, rape and torture, cannibalism, and the odd jobs of the reproductive body parts. Remember when I said that “Gun Woman” is the fairly tame?
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The Maxam produced film stars the ever gorgeous actress Asami of “Machine Girl” fame. You may remember my last Asami film review for the Pink Eiga released “Prison Girls” starring the once former JAV actress turned phenomenal B-movie heroine. Asami’s uncanny ability to conform to any role heightens the film’s viewing and enjoyable factors and “Gun Woman” is the epitome of B-movie schlock, almost as if her role as Gun Woman was made just for Asami. Alongside Asami are Kairi Narita as the Mastermind and Noriaki Kamata as the heinous sex-fiend only known as Hamazaki’s son. Narita towers over Asami with a strong muscular face, proving to be a powerhouse character even though the Mastermind character is partially crippled. Kamata possesses such a freaky super thin, yet muscular build with defined facial features that his role as a necrophiliac, a cannibal, and a rapist-murderer wouldn’t be so far from the truth if bumping into Kamata randomly on the street.
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While Asami’s character might be the heroine of the film, “Gun Woman” surely feels like an anti-woman film. Many of the female roles, no matter how minor, are subjected to some sort of abuse. Hamazaki’s son rapes and strangles various American women while also raping and killing the Mastermind’s wife. The Mastermind himself kidnaps an innocent woman and uses her as a tool to create a lethal weapon in Asami. Even Hamazaki’s female body guard doesn’t get a chance to have one line in the entire film, does really nothing at all, and ultimately meets her end and I can’t help but wonder why even have this character at all if the character serves so little a purpose? Like I aforementioned, Asami might be this kick-ass, gun-toting, deadly femme-fatal, but her mission for revenge isn’t even her mission for revenge; its the Mastermind’s and he’s using her, a junkie bought off a secret organization, with given a single choice: to either kill for him or die.
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“Gun Woman” markets itself as a “no-holds-barred revenge flick” and has all the makings of a cult film. Blood gushes out of gaping wounds, intense fight and gun scenes, and naked women galore grace the film’s entire presence. However, “Gun Woman’s” enticing premise isn’t without major flaws including obvious plot holes, inaccurate medical procedures, and some unbalanced acting from not the Japanese, but from the English speaking Anglo-Saxons driving the car during the outer-story. Hey, this is the movie industry where anything can happen as long as someone can think of whatever it is up and as long as someone can construct it as well. The whole premise behind the film is bogus in reality and Asami’s character might as well be a part of the IMF because her mission is impossible. To provide an example, nobody could withstand having three parts of a firearm surgically implanted into their body and then live 22 minutes later after removing the said parts by reopening the wounds to assassinate everybody in “The Room.” Other factors are involved when contemplating blood loss and time such as what if Asami is additionally injured resulting in blood loss? What if her pulse rate increases during heart-pounding scenarios causing a faster blood flow?
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Show business is all smoke screens, lengthy mirrors, and customized misdirection and Mitsutake’s “Gun Woman” certainly provides just that while pushing the boundaries of taboo subjects and being, what I consider, a chauvinistic perspective against women. If a viewer wishes to suspend disbelief for 87 minutes, witness a bloody-stellar end game, and see their fair share of naked and abused women, then “Gun Woman” would be right up their mentally deranged alley. The Scream Factor (Shout Factory) Blu-ray release is presented with little digital noise interference in a 1080p High-Definition widescreen 1.78:1 aspect ration with DTS-HD Master Audio 5.1 mix with English subtitles available. I’m not sold on the Scream Factory Blu-ray cover of a closeup of Asami’s face and holding two smoking sidearms in a criss-cross way (think Kate Beckinsail on the “Underworld Evolution” DVD). This doesn’t actually represent the movie as she never really garnishes two handguns. Other releases are more accurate with a naked and bloodied Asami, aiming one handgun. Still, the release is solid and I wouldn’t discourage anybody, especially Asami fans, of a good time.

Quick Pic: Nekromantik Blu-ray

Exciting Blu-ray release news! Nekromantik is coming October 7th with only 2,000 copies available. I probably won’t make the purchase (I have Nekromantik 1 and 2 on DVD already), but I suggest you take the plunge!

) NEKROMANTIK tells the story of Rob (Daktari Lorenz) who works at a street-cleaning agency, who visits roadside accidents to clean up the scene. Incidentally, Rob collects the body parts and shares them with his girlfriend Betty (Beatrice M.) When Rob presents a complete corpse taken out of a swamp, their undying love reaches its peak, but soon after Betty starts liking the corpse and leaves Rob, which takes him to the sick end of his destruction.”

nekbr