Tag Archives: nudity

EVIL Has Layers. Colorful, Beautiful, Red Dripping Layers. “No Reason” reviewed! (Unearthed Films / Digital Screener)

Posted by Steven Lewis on

On the verge of moving from her quaint apartment, Jennifer begins her morning caring for her son, Nico.  Throughout the morning, her complex neighbors come knocking at her doorstep with unusual behaviors, even so with the mailman who apathetically leaves her bathroom a mess after requesting an urgent need to use the toilet.  After leaving Nico with an elderly woman in an adjacent unit to do some light shopping, Jennifer comes home her son and neighbor not answering the door and figures they went out for a while.  As time passes and her anxiety builds, Jennifer decides to soak in a relaxing bath but when she falls asleep, she awakes amongst a pile of dismembered bodies, subjected to ultra-violent video recordings of the neighbors who she saw earlier, and a masked maestro of anguish to help Jennifer regain life purity through pain.  Through the layers of suffering, the ugliness Jennifer has to endure to survive and find her son might be an awakening she will forever regret. 

From the violence saturated mind of German auteur Olaf Ittenbach comes a battle of conscious, a gore waterlogged vision, in his 2010 blood-shedding shocker, “No Reason.”  Now, I may be over a decade late to the party on this title, but Unearthed Films has brought a newly remastered, fully uncut Blu-ray to physical and virtual retail shelves, reviving the “Legion of the Dead” and “The Burning Moon” filmmaker’s title from the North American grave as the Intergroove Media DVD has been out of print for a long time, and kicking my ass into high gear with diving into the surreal expressionism, splayed into every nook and cranny, of deviated behaviors and splintered thoughts.  “No Reason” is a production of Ittenbach’s IMAS Filmproduktion studios and co-produced by German SOV splatter film connoisseurs, Michael Nezik and Ingo Trendelbernd.

Like Alice traversing a macabre-cladded hell on Earth wonderland is Irene Holzfurtner as the confused lost soul Jennifer  More or less fully naked and bloodied half the story, crossing through portals of layered perdition in order to find her son and saving grace, Holzfurtner has insurmountable perplexity hung across her character’s face in the midst of being plopped into bedlam, taking the character on a journey pain, torment, and enlightenment bare ass naked and covered in blood in a metaphorical rebirth.  Overseeing Jennifer’s trial and tribulations into being brought back reborn as it were is a sadist donning a crude Cthulhu mask and strapped tightly into a medieval BDSM attire who speaks in riddles and verse to sermonize his cathartic guidance.  Markus Hettich towers a monolithic man of pain and pleather, calmly exercising his shrouded authority a healthy amount of sadism, masochism, and sadomasochism in order to undress the falsehood of Jennifer’s split spirit.  Hettich pins an ideal Devil-like antagonist, rupturing through the connective tissues of the psyche with a lingering omnipresence that delivers shivers down the spine.  Mathias Engel, Alexander Gamnitzer, Andreas Pape, Annika Strauss, Ralph Willmann, and Hildegard Kocian make up the supporting cast who are most cooperative being exploited by the violence and nudity that accompany their ill-fated roles of humiliation, torture, and inevitable gruesome death.

Ittenbach obviously brings the gore but the controversial director, who has sparked backlash for glorifying violence, brings a beaming arthouse allure to his “No Reason’s” gargantuan bloodletting.  Layered with multi-colored conjectures point to the unhinged state of a mind, Jennifer endures unspeakable anguish in layers encoded with red, green, and blue, each specifically engineered by the masked man to trigger a response when testing Jennifer’s will; a will to what end is something you’ll need to watch the film to understand.  What I can tell you is that each color stage bares a horrific theme – red is simply the spilling of innocent blood, green is feminine dominance symbolized by BDS&M (a running motif throughout) where uninhibited women urinate on men (explicitly shown), castrate by oral sex, and divulge themselves with lots of male body disfiguration through whips, chains, and other large dominatrix toys, and blue is filled with mutants who are just as ugly on the inside as they are on the out.  Completing each stage costs Jennifer bodily harm as a reparation for staying on the path of enlightenment, the white layer.  With a little money behind the project, Ittenbach’s able to accomplish some fantastically brutal scenes with fleshy prosthetics and I, personally found the intro credits to be insanely power in it’s composition despite the simplicity of it.  Where “No Reason” buckles is the crux of Ittenbach’s artistry with the parable that borders nonsensical guff.  I’m not going to lie, “No Reason” is difficult to follow from the pre-opening credit epilogue home movie montage of Jennifer and her parents frolicking on the grass, praising Jennifer’s smarts at such a young age, to the post-opening credit opening of a naked and bloody Jennifer holding a detective hostage, to the surreal cerebral journey through a timeless purgatory horror house Jennifer finds herself trapped, the segues, if any, often feel omitted and we’re left to assume the rest. 

The brisk 76 minute runtime perfectly balances the right amount of abstract story and gore and, now, “No Reason” has a better reason for your attention with Unearthed Films’ new scan of an uncut Blu-ray release! The May release is presented in a high definition, 1080p, widescreen 1.76:1 aspect ratio. I can’t comment too much on the audio and visuals as a digital screener was only provided, which means there were no extras accompanied with the screener as well. “No Reason” is the first collaboration between Ittenbach and director of photography, Axel Rubbel. The pair went on to work on Ittenbach’s “Savage Love” two years later, but Rubbel has more of an imprint with Ittenbach’s candy-coated eye-popper gorefest with a kaleidoscope of blushes a tinged aberrant from the normal blacks, reds, and browns that blotted onto gore and shock films. The release will include two German language audio track options, a 5.1 surround sound and a stereo 2.0. Both should include English subtitles and, if the Blu-ray is anything like the digital screener, the subtitles are synched well with the dialogue and, from what I can tell, are grammatically error free. My abnormal brain can choke down the free-for-all soul-damaging ultra-violence and gore charcuterie board and Olaf Ittenbach’s “No Reason” fits that bill with a wide berth of exhibited atrocities while also coming up for air by attaching a misdirection substance behind the graphically lurid details of skin ripping from the muscular tissue and flesh lacerated to shreds by a cat-o-nine tails to ease us into the tumultuous mind of a psycho’s path.

“No Reason” available on Uncut Blu-ray!

Curse EVIL Curses! “Baphomet” reviewed! (Blu-ray / Cleopatra Entertainment)

Posted by Steven Lewis on



Jacob Richardson, a Napa Valley landowner, and his wife are jubilantly excited about becoming grandparents with the eager arrival of their daughter’s child.  Still months before the actual delivery date, their daughter vacations with him while her husband works a few more days in Malibu before joining her but gruesomely dies in an apparent shark attack.  His sudden death isn’t just a stroke of horrible luck, but a devil worshipping cult’s curse bestowed upon the unsuspecting family after the rightfully stubborn Richardson refuses to sell his vast property to a shady businessman the day before.  One-by-one members of his family fall victim to a series of accidental and unexpected tragedies that leave his daughter, having dreamt the cult responsible for the black cloud that has been afflicting her family, desperate to try anything, even if that means making contact with a benevolent white witch to resurrect her shark bait dead husband.  The cult still wants their land and for the Richardson family, only Jacob, his daughter, her resurrected husband, and the white witch stand against an army of Satanists besieging upon the family home to awake a slumbering dark force. 

You know you’re watching a Cleopatra Entertainment distributed release when the plot revolves around a Satanic or demonic annihilator, as such with “The 27 Club,” “The Black Room,” “Devil’s Domain,” “Devil’s Revenge,” and maybe even a tiny bit from Glenn Danzig’s strange comic book adapted anthological tapestry, “Verotika.”  Matthan Harris’s 2021 released “Baphomet” walks along the same lines with the titled gnostic and pagan deity made infamous by the worshipped practices of The Knights of Templar acolytes.  “Baphomet” is “The Inflicted” director’s sophomore feature in which he’s written to remain in the horror ranks as an aggressive occult summoning of an evil presence to walk the Earth.  Shot in various California and Texas locations, the moneybag company behind “The Velicpastor” and “Don’t Fuck In the Woods,” Cyfuno Films L.L.C., collaborates supportively Matthan Harris’s formed Incisive Pictures production company to deliver a trackless, unmapped, and unholy “Baphomet” to the home video market with Harris producing alongside executive producers Grant Gilmore, John Lepper, and Cyfuno Films’ Adam and Chase Whitton.

We’re initially introduced to Giovanni Lombardo Radice sermonizing as the paganized pastor and cult leader Henrik Brandr before they slice open a naked woman wrists and drink her blood from a single chalice.  Right from the get-go, “Baphomet” hits us with the 80’s circa Italian star power of the “Cannibal Ferox” and “StageFright” actor.  The blood trickles down from there once we’re introduced to the Richardson family, headed by the patriarchal Jacob Richardson in “Mother’s Boys” Colin Ward.  Ward’s a convincing father figure, rugged and surly in showing off his rough and tough cowboy swagger, yet also sensitively compassionate in a broad range of acting experience.   However, that’s about as far as Jacob Richardson impresses as the character levels out, sulking over the loss of his son-in-law Mark Neville (Matthan Harris), wife Elena (Ivy Opdyke) and daughter’s unborn baby after his force to be reckoned with verbal encounter with one of the cult leaders offering him a lump sum of moolah for his land; instead, Richardson’s daughter, Rebecca Neville (Rebecca Weaver) takes a family first lead by engine searching and watching video tutorials on the nature of black and white witches.  After easily tracking down and skyping with witch expert played by Dani Filth, lead vocalist of metal band Cradle of Filth, a obsessed Rebecca becomes hellbent on resurrecting her Great White shark masticated husband, Mark, with the help of good witch Marybeth (Charlotte Bjornbk, “Cannibal Corpse Killers”) and this is where things go awry for the narrative.  Only a self-absorbed director would kill himself off extravagantly in character, saw fit to be resurrected for the sole purpose of love, and then become the ultimate hero of the story that leaves his wife and father-in-law in glory’s dust trail. “Baphomet” supporting roles from Gerardo Davila (“Ticked Off Trannies With Knives”), Stephen Brodie (“Puppet Master: The Littlest Reich”), and Nick Perry as the cult-sought demon.

Filled with blood sacrifices, family curses, killer sharks, and a pitiless grey demon, certain viewpoints embody that very black magic archetype of the historical devil dealings engrained into “Baphomet, but what specifically the Harris brings to the obscure budget horror smorgasbord is a platter of tasteless derivativity and bland storytelling, flavored with peppered gore granules and a pinch of pop culture icons. “The film opens engagingly enough with spilling the blood of a fully naked woman so everyone can play pass the cup of virgin blood in order to appease their dark lord and then we’re firmly segued into the happiness of the Richardson family until Jacob Richardson declines a money offer for his land. Spilling blood into the ocean and leaving dead, crucified birds on the porch enacts a deadly curse that sends sharks and snakes into a murderous rage. Up to this point, Harris has control of the story with some decent editing work and effective bitesize prosthetics to actually descend hell’s wrath upon an ingenious family. I could even look past the wild and impetuous decision to resurrect the dead boyfriend after his fatal encounter with a Great White, but when the third act’s last stand against cult comes knocking at the door, the script chokes on a grotesque amount of happenstance and exposition. For example, when the sheriff and deputies arrive at the Richardson house on Jacob Richardson’s whim that the cult might be outside their doorstep, one of his deputies randomly pulls out of a bag of large scale dynamite his cousin uses on at a jobsite, thinking the ACME-sized TNT would come in handy. Mark also decides to blow his undead cover, exposing himself to the officers in a screw-it moment of “yeah, I don’t care.” Soon after, a “Harry Potter and the Deathly Hallows Part II” battle ensues between the deluging cult and the defending Richardsons/Officers and many main characters parish during the skirmish fruitlessly and effortlessly to the point where they might as well have been non-essential to the story supporting parts. Also – the lack of considerable screen time of Baphomet and the demon child lays waste to a perfectly good title, in my humble opinion.

Perhaps one of the few Cleopatra Entertainment, a subsidiary banner of Cleopatra Records, to not be accompanied with a soundtrack compact disc with the Blu-ray, distributed by MVD Visual. The single disc BD-25 release is perhaps one of the few trimmer releases from Cleopatra Entertainment and is presented in HD 1080p in a widescreen 2.37:1 aspect ratio. Generally speaking, the music mogul company has continuously be consistent on their video and audio Blu-ray releases. The details are rather defined looking and sharp with blacks, and there are many black scenes, noticeably inky without that dim lit tinge of gray. Some of the underwater sequences and the video chat calls with Dani Filth are murky and at a lower rate than due to Filth filming his scenes literally from the UK on a video call for most of film. Two English language audio options are available – a Dolby Digital 5.1 surround sound mix and a Stereo 2.0. Flipping back and forth between the two option, the devil is in the file track details but both mixes sound frightfully the same down to the climatic explosions. Bravo on the depth and range that captures rightfully the echoes of high vaulted ceilings and the positioning of characters. Dialogue is clearly present and mostly natural with aside from Gerardo Davila, the Sheriff in the film, in what discerns to be a soundstage track layover of his dialogue. When he speaks, Gerardo doesn’t seem to be sharing the same dialogue space with his costars in an unnatural vocal delivery of his role. While there is no soundtrack disc to rock to, the hefty bonus material is a shocker with deleted and extended scenes, outtakes, a music video ‘Shellshock” from Tank featuring Dani Filth, behind the scenes pictures, Dani Filth backstage interview, Jason Millet’s storyboards, and a teaser trailer. Tickled me unimpressed by Matthan Harris’ “Baphomet” that hinges on uninspired cult creed. For me, special effects wins top prize and a giant handful of bonus material is the only thing that arises out of “Baphomet” from the wells of damnation.

“Baphomet” is on Blu-ray at Amazon.com

Expectations Lead to EVIL in “The Cool Lakes of Death” reviewed! (Cult Epics / Blu-ray)

Posted by Steven Lewis on

Set in the early 1900s, Hedwig’s childhood is filled with love, wealth, and innocence, but when her mother dies suddenly at the hands of typhoid, life turns complicated as death, draconian religious teachings, and an uncompassionate home clouds Hedwig’s mind on what exactly her relationship with men and with God should look like.  Punished for self-pleasure and scolded for her belief in fantasies, Hedwig enters adulthood as a conformist seeking to marry a well off man and have children in what was supposed to be the perfect union that reveals in sexuality the secret to marriage.  Prim and proper on the outside but a child on the inside, Hedwig misjudges her affairs with men and indulges in a pretense relationship with them.   When she finally finds happiness with a renowned pianist and the two have a child together, Hedwig’s hold on reality snaps as the child dies a few days later, sending the once elegant Hedwig into a tailspin of unhinged mental stability, drug addiction, and prostitution. 

“The Cool Lakes of Death” is the adapted film based off the Netherlands novel from the dual profession novelist and psychiatrist, Frederik van Eeden, entitled Van de koele meren des doods, which closely translates to “The Deeps of Deliverance,” a psychological period piece and melodrama with themes on the antiquated God-fearing expectations of a 19th century young woman, the solidity of marital unions, and a woman’s sexual liberation.  “The Cool Lakes of Death” is the follow up directorial from “A Woman Like Eve” director, Nouchka van Brakel,” off a screenplay written also by Brakel and co-written with Ton Vorstenbosch.  The exquisite tragedy of a woman submerged in societal misconceptions of love that can’t be forced and the mutuality of pleasures is yet another Dutch production from producer Matthijs van Heijningen and his company Sigma Film Productions, who have overseen a handful of Brakel films including “The Debut” and “A Woman Like Eve.”

Understanding the mixed emotions of a young girl in the throes of self-discovery, with a pinch for the dramatic flair, Renée Soutendijk gives a prismatic performance, glistened in a stringent social dogma, of hope and pity.  The Netherlands actress, who had the role of Miss Huller in the 2018 “Suspiria” remake, the inundated Hedwig, friends call her Hetty, who has inexhaustible amount of hope in her search for passion, but insurmountable roadblocks and obstacles corrupt Hetty’s mental processor.  Soutendijk’s elegance has a soft innocence to it, a naïve virtue that contrasts bleakly against the subtle and not so subtle influencers of Hetty’s life and Soutendijk really opens our eyes when Hetty’s full blown crazy in a clear and precise moment of snapping her rationality like a dried and brittle twig.  The performance digs at you and Brakel exploits the worst (good cinematically) parts of Hetty’s break that has her be a wild, naked woman thrashing, spitting, and puking in a locked room of a psyche ward, injecting needles into her arm night after night after selling her body to unscrupulous men, or even stuffing her newborn baby into a duffel bag and heads off to sea to search for her husband Gerard, a subdued, appearance concerned gay man that never cared physically for Hetty, played by Adriaan Olree in his debut performance.  Hetty comes across two other lovers; one a flyby and compassionate artist Johan (Erik van ‘t Wout), who would have matched her passion, but not her social status, and, eventually, she finds much of what she seeks in a renowned concert pianist Ritsaart (Derek de Lint, “When A Stranger Calls” remake), who refuses to admit their relationship in fear of scandal and ruin of his career.  Along the way, Hetty listens more to her blinded heart than she does her logical mind when intaking sound advice from advocates of her wellbeing as Ritsaart’s best friend Joop (Peter Faber, “A Woman Like Eve”), her best friend Leonora (Kristine de Both), and a hospital nun (Claire Wauthion) attempt to steer her toward a happier existence. 

I really can’t get enough of Hetty unable to secure her ideal happiness.  That might sound a little inconsiderate but what is a perfect relationship?  Brakel explores how an sought ideal can turn into a damaging expedition for the white whale.  Instead of being the ill-fated, hellbent Captain Ahab, Hetty’s land based monomaniacal drive of fairytale love becomes her ultimate downfall, sinking her deeper into the depths of despair, loneliness, and a cataclysmic separation from reality.  Gerard wasn’t perfect because he secretly longed for men, Johan didn’t have the right social stature for a lady of her status, and Ritsaart kept their love hidden below the public eye.  There’s a quite a bit of feminism loitering around in that last statement with a touch of selfishness to no fault of Hetty’s and all circulate back to some sort of suppression whether it’s sexually or emotionally umbrellaed by patriarchal doctrine, discourse, and discipline.  The culture toxicity is so severe that the older generation of women are beguiled by it’s power to be controlling others themselves under the thumb of a male-dictated society as we see in Hetty’s Governess in tattling on her pupil’s every move to her wimp of a widowed father.  “The Cool Lakes of Death” is a beautiful disaster in almost a sing-songy narrative delivered by director Nouchka van Brakel’s mighty delicate touch. 

For the first time in North America and single in a trilogy of Nouchka van Brakel releases from Cult Epics, as well as in a trilogy boxset, the 1982 downcast drama “The Cook Lakes of Death,” arrives on DVD and Blu-ray home video.  The New 4k High-Def transfer is scanned from the original 35mm negative with an impeccable and nearly blemish-free restoration.  The film is presented in the European matted widescreen, 1.66:1 aspect ratio, with plenty of good looking natural grain and a softer image in the trashy romance first act then to a harsher, grittier quality during the time of her ruin under the eye of Theo van de Sande who ventured from the Netherlands to the U.S. later in his career and worked on Joe Dante’s “The Hole,” “Little Nicky,” and “Blade.”  A couple of whip pans into deep focus shots enrich the production, a technique that has served Sande in his later work.  The Dutch language DTS-HD Master Audio 2.0 lossy audio is as good as this title will ever see without an actiony framework.  Dialogue is completely discernible with well synched English subtitles.  A few pops in the span but no major damage to the audio to speak about in length.  Soundtrack has barrier moments of muffled penetration.  Not too many special features to touch upon with the theatrical trailer, a poster and sill gallery, a 1982 newsreel unearthed from the Polygoon Journal archive, and a reversible Blu-ray cover. “The Cool Lakes of Death” is young and naïve adolescence transitioning into womenhood only to be tripped up every step of the way; Hetty’s eager to blossom turns to withering as the underdog in life’s kennel and Brakel’s purificatory rite of passage beautifully disembowels hope and dreams in a dreamy fashion until finding faith in life come full circle, well almost, in commencing with both feet standing into adulthood.

“The Cool Lakes of Death” on Blu-ray Home Video at Amazon.com

Two Movies, One EVIL. “House of Cruel Dolls” reviewed! (Full Moon / Blu-ray)

Posted by Steven Lewis on

A perverse gang of sex traffickers kidnap beautiful women to be prostitutes for a hidden away bordello, known as the House of the Lost Dolls.  Gaston, a bordello regular, falls for sex slave Yvette and together they make a great escape to free Yvette from the gang’s clutches.  Yvette’s harrowing ordeal is given to the police.  What ensues next is the dispatching of secret agent Sigma to track down and eliminate the ruthless gang, but finding their hideout won’t be that easy as espionage tactics and killer assassins lie in wait around every corner, but agent Sigma will do everything in his power to see an end to their depravity. 

What a wild mashup of manipulation to work in a spy thriller around a sordid exploitation!  That’s the only way to describe French filmmaker Pierre Chevalier’s sleazy action-action thriller “House of Cruel Dolls.”  Also known as “The House of the Lost Dolls,” “The Panther Squad” director and A.L. Mariaux, one of “The Sexual Story of O” Jesús Franco’s pseudo names, penned 1974 released screenplay fills in the blanks with archival footage from the 1967 espionage flick “Agente Sigma 3 – Missione Goldwather,” starring “The Vampires Night Orgy’s” Jack Taylor.  Judging by the colorful, multi-national, grindhouse titles and the crew involved, you can bet on the “House of Cruel Dolls” to be a licentious and violence riddled romp, swanky in sexual severity and coarse with an untamed plot.  As a production of Eurociné, one shouldn’t be surprised of “House of Cruel Dolls’” shameless nature with the once legitimate Marius Lesqeur storytelling company that ventured into mass producing cheap, seedy classics, more around the uncomfortable context of Naziploitation or WIP (Women in Prison), with such films as “Angel of Death,” “Jailhouse Wardess,” “Hitler’s Last Train,” and “Helga, She Wolf of Stilberg,” as well as other European exploitations in “Diamonds of Kilimandjaro” and “Female Vampire” to capitalize on the rise of erotic in the 1970s through the 1980s. 

The Eurociné played the popular casting game of hiring American actors to star in their oversees produced films, but for “House of Cruel Dolls,” the hiring of an America actor doesn’t go as typical as you would have thought.  Instead of signing Oregon born Jack Taylor to be the leading man stopping a ring of evil sex traffickers, Chevalier, along with “Nude for Satan” editor, “Luigi Batzella,” spliced together Jack Taylor’s Italian-made spy thriller “Agente Sigma 3 – Missione Goldwather  fit into the extremely graphic and perverse scenes of rape, gang rape, and perversion narrative of the barely sticky adhesive “House of Cruel Dolls.  There’s actually one scene where Taylor’s character and partner run down a flight of stairs on a boat, but topside is definitely Taylor, but down the stairs inside the boat is a different actor with an extremely bad wig.  Co-starring, more or less, with Taylor are a blend of Italian and French actors from both stories that not necessarily share the same screen with their leading man.  The French actress Silvia Solar (“Cannibal Terror”) does share actual screen time with Taylor as the infiltrating villain in the cloak-and-dagger film whereas Sandra Julien (“The Shiver of the Vampires”) mingles deep undercover in the lion’s den of the sex trafficking master of ceremonies, Rasly, played by “Blue Rita’s” Olivier Mathot staged in actual “Cruel Dolls” territory.  Rounding out the patchwork cast is Magda Mundari, Raymond Schettino, Gillian Gill, and “Shining Sex’s” Claude Boisson (credited as Yul Sanders) who can’t seem to scratch his inch for lusting over helpless dames. 

I’ve seen worse cut and paste fuses of different 35mm reels and some not so terrible, yet oblivious a stretch at the seam, “Caligula” comes to mind with the inserted hardcore snippets, but “House of Cruel Dolls” flows and flows pretty well considering the rough segue cuts that blend the 1967 film with the 1974 film without much era style or stock degradation differences.  However, what Chevalier, and also most likely Franco, accomplished with their film had more attributes toward being a hardcore adult movie than being an action packed espionage thriller with prolonged and gratuitous sex scenes.  For example, Gaston rescues Yvette from sex slavery horror after a short-lived shoot out during the opening segment, the pair drive their way to the police station but stop along the way to cool down under the forest trees, lay out a blanket like they’re having a picknick, and have sex before going back to rushing to the authorities.  Plus, also experiencing Claude Boisson uncontrollably salivate over tied up and drugged women and easily make them look feeble as he ravages them is a trope norm of that character in the adult industry.  Plenty of skin makes “House of Cruel Dolls” a surefire sexploitation attraction, but much of the nudity is one-sided with the women baring everything while every man, except for one, keeping his clothes while committing the sleazy act and cinematographer, Gérard Brisseau, remains tight on focusing on two parts:  the clothed humping rear of the misogynistic rapist and the women’s bare nipples being forcibly suckled on. This makes the scenes not pungently powerful but more monotonously dull stuck on loop.  The latter is really laid on thick for the first act, saturating the skin-laden setup with Yvette’s escape and her flashback of how she become a lost doll in the lost doll brothel, but once Jack Taylor makes the scene, the action really starts with solid fight sequences that could rival the Sean Connery era James Bond.  However, you really receive a good chuckle when the big boss dies and story cuts-to Gaston and Yvette, hanging around Gaston’s pool, hugging and smiling that the gang has been wiped out in a drop off, that’s-a-wrap ending that table any coda gratification. 

For the first time released in North America and on Blu-ray home video, Pierre Chevalier’s “House of Cruel Dolls” comes uncut and remastered in Hi-Def, 1080p from the original 35mm transfer by our friends over at Full Moon Features as part of their Eurociné Collection.  Presented in a matted 1.85:1 aspect ratio, the pristine transfer really comes through without really a hint of damage or over the years degradation.  The color palette dices through the natural grain copiously vivid where needed to be character garments, hair, and vehicles.  Contrast has a whispery air about, heavenly almost, throughout without squashing too much of the textures.  The forced Dub English language audio tracks come in two formats – Dolby Digital stereo 2.0 and 5.1 surround sound.  Prepare to have side-splitting, cringe-worthy reactions to the incredible horrendous dubbing of baritone grumbling through the lossy audio tracks.  Even the Jack Taylor impersonator has a different dub than the actual Jack Taylor. Bonus features include trailers of other Euro cult titles. Considering being the only release in North America, “House of Cruel Dolls” is a rubbernecking sight to behold as the Eurotrash epitome of the Eurociné scene of the 1970’s, worth the price of admission just for that.

Own “House of Cruel Dolls” on Blu-ray or DVD!

EVIL Will Scrape You Clean Right to the Bone in “Scavenger” reviewed! (MVDVisual – Cleopatra Entertainment / Blu-ray)

Posted by Steven Lewis on

A ruthless post-apocalypse world consists of killing others for their vital organs and sell them on the black market to earn a living or to score the next high.  The latter is the life Tisha lives as a bounty hunter assassin sustaining through a bleak existence of the next job and another hit.  When a new job brings her ugly past to the present, no payment is necessary as she gladly assassinate a smutty bar owner and brutal cartel head.  Things don’t go as planned when Tisha winds up naked on one of grimy sex mats of her target’s whore house after encountering and being seduced by Luna, the boss’s best laid side piece stripper and confidant.  The assassin must fight tooth and nail to survive on her filthy course to truth-hurting vengeance.

A complete ball of filth and fury is how I would begin to describe Eric Fleitas and Luciana Garraza’s sordid wrapped “Scavenger,” hailing from Argentina with wild west undercurrents in a post-apocalypse wasteland that makes George Miller’s barren lands look like Disneyworld.   Titled originally as “Corroña” in española,  the filmmakers also pen the violent screenplay alongside a third writer in Shelia Fentana to produce their very first feature length credit together that clocks in at 73 minutes, and 73 minutes is plenty enough to be entranced and be gorged by the anarchist sleaze, galloping gore, fast cars, and loose whores.  The trio financially self-produce “Scavenger’s” journey to silver screen fruition while Ronin Pictures provides special effects work that can rival the best independent productions. 

The role of Tisha is not a pleasant one, no role in where the protagonist being raped is pleasant to begin with, but to compound the character with a nasty drug habit, a gruesome vocation, traumatically scarred past, and be the objectifiable plaything for a bunch of society-fallen degenerates, Tisha’s fortitude had to be uncompromisable and her sensitivity dialed way down to zero in order to survive in her cutthroat world where not even your bodily organs are safe.  In steps Nayla Chumuarin, a fresh face Argentinian actress unknown to the majority of general audiences, ready to slip into a demanding role antithesis to Mel Gibson’s Max Rockatansky that’s only similar in a very few ways.  Geared in masculine attire, sporting a pixie cut, and gleaming with sweat and dirt from head to toe, Chumuarin offers up an intriguing anti-femme fatale in a more cold shouldered assassin vibe with a fast barb wired cladded car and who can handle herself around all types of antagonists, even those two times her size and are a disfigured mutant!  Tisha tracks down Roger, a brothel and bar owner who has ill-fatedly crossed paths with Tisha in a previous life.  Played by Gonzalo Tolosa, the mohawk-sporting Roger abides by his own set of rules unless they’re coming out of the sensual viperous mouth of Luna (Sofia Lanaro), Roger’s stripper girlfriend with a true sense of the femme fatale archetype.  Together, Roger and Luna call the shots and lust suck each other faces in the torment of Tisha who by the end of the film just wants to waste them both from the face of the post-apocalypse Earth.  Fleitas and Garraza purposefully and rightfully omit much of the backstories from most of the film and slide them in, crashing down like a house of falling cards, right on top of not only the characters but also the audience in a moment of realization and shocking truth from everything that has happened in the story up to that climatic end.  “Scavenger” rounds out the cast with Tisso Solis Vargas, Denis Gustavo Molina, Norberto Cesar Bernuez, Vanesa Alba, Rosa Isabel Guenya Macedo, and Gaston Podesta as the Mutant.

“Scavenger” is pure debauchery nonsense.  A gore loaded free for all.  The story is about as ugly as you would expect with the exploitation of carrion from those slowly succumbing to death in one form or another.  “Scavenger” is an entertainment juggernaut doused in corrosive material that will either disgust or amuse, depending on your temperament, with no middle ground to balance.  Characters are driven by unadulterated greed or rage, even the heroine of vengeance who just a few scenes prior stabbed a man in the back to harvest his organs, without one morally redemptive character to relieve the incessant current shocking the mind’s nipples with searing voltage.  Fleitas and Garraza slather in a laissez-faire fashion the exploitation veneer of grindhouse muck to serrate the unsavory snaggleteeth even sharper, but there are points where too much of a good thing becomes bad to the film’s health.  As such is with the licking of the face motif.  Like Quentin Tarantino and his obsession with closeup shots on female’s feet, Fleitas and Garraza shoot a handful of scenes of sexually engaged males lapping the sweat and pheromone droplets from the faces of their carnal conquests in all types of scenarios from rape to consensual.  The saliva wet, grainy muscle just slides right across the soft flesh covered cheekbone in more scenes that I cared to count in what seems more like a filmmaker fetish than an object necessary to overboard the obscenities.  It’s a weird action to call out but happens more than just a couple of occasions and between different characters.  The pacing’s fine albeit a few nauseating slice and dice editing that doesn’t take away or hinder in abundance understanding the progression of Tisha’s journey, but definitely causes a bit of blurriness on the heroine’s perspective of whether what she’s experiencing is a nightmare, a flashback, or a bad trip from whatever narcotic she withdrawals from that once injected speeds her into a kill monger. 

If what I’ve gone over doesn’t entice you, I can tell you this much.  “Scavenger” is perhaps the best Cleopatra Entertainment film release I’ve seen up-to-date.  The subsidiary of the independent record label, Cleopatra Records, Inc, in collaboration with MVD Visual release the South American grindhouse-fest film on a 2-disc Blu-ray and Compact Disc set featuring the film’s soundtrack, including music from Rosetta Stone, The Meteors, The 69 Cats, Philippe Besombes, Damon Edge and more with a full artist list on the reverse side of the cover liner along with alternate cover art of the film.  Presented in a widescreen 16:9 ratio, don’t expect a high-definition output with a homage to grain and a warm high-key contrasts to augment the desert outward show under the eye of Sabastian Rodriguez.  Negative space is only used for intense shadows to cloak the lurking menace around every corner.  There’s a variety of shots, including some great wide shots and crane angles, that sell “Scavenger” beyond the frenzy of blood-soaked and furrowed brow closeups.  There are four audio options available:  a dubbed English 5.1 surround and a 2.0 stereo as well as the original Spanish dialogue track in a 5.1 surround mix and a 2.0 stereo.  Unfortunately, the Spanish tracks do not come with option English subtitles so if you don’t understand the language, you’ll need to sit through the always awful English dub; however, this particular dub track is not obviously horrendous.  With all the Cleopatra Entertainment titles, the soundtrack sticks out like a sore thumb to promote their investments with high quality sound but also in true Cleopatra Entertainment titles, the lack of bonus features continue with “Scavenger” with only a theatrical trailer and an image slideshow.  “Scavenger” is a particular breed of film where you just flip your mind’s decency switch to off and gladly watch the world burn in depravity to get your jollies off.

Own “Scavenger” on Blu-ray and Soundtrack CD combo Set!