Chronicling the Cannibalistic, Necrophilism EVILs of a Serial Killer is for Adult Eyes Only! “LoveDump” reviewed! (A Baroque House / Digital Screener)

July, 2003 – a hollow-hearted serial killer, Denise Holmes, moves into a motel room of a populated metropolis of the West Coast.  Journaling every perverse and murder-lust desire in a diary, the unspeakable acts of sex and death blend together as one as the urge to kill grows bolder, leaving a trail of gore in the wake.  Paranoia begins to sink in after the last execution of an innocent victim and desecrating their bloodied, decapitated head in an inerasable moment from the mind. What you’re about to hear are the audio recordings of Denise Holmes’ diary inserts, read by Detective Jamie Reams whose giving a tactile voice to a wraith-like monster.

Over the years, the term Horror has been exploitatively glamourized for capital, trendsetting and bedazzled with glitzy gems of tamed teenager torment that sold the strung up, struck down, and sliced-and-diced adolescent carnage-fodder into each and every way the human brain can conceive with only a tweak of difference adorned with each ornate kill. Horror has also become garish with gorgeous women for the gratuitous donation of bare skin for the camera and the audiences to entice and gawk at the beauty in death. I’m not going to lie, I eat every millisecond of film of the good, the bad, and the ugly when it comes to horror, and, truthfully, horror has been making a strong stance in the last couple of years and I’ve been embracing the subtle tingling of mind game thrillers to the overtly ostentatious gore-soaked slaughterhouses of a genre with the broadest spectrum known to the cinematic universe. The filmmaker under the alias of SamHel pushes our tolerance for extreme content to the breaking point with the written-and-directed 2020 adult-fetish exploitation, “LoveDump,” an independent film from the USA under the production company, A Baroque House, that set out to pay homage to the graphic adult and fetish horror films of 1990s Japan.

The 33-minute short film only stars two performers in non-speaking, purely physical roles. First up, Wolvie Ironbear, an intersex non-binary adult content pansexual specializing in gothic and kink fetishisms, depicts the notorious necrophiliac serial killer, Denise Holmes, and Apricot Pitts, an unshaven fetishist whose also in the adult content creator realm, as a hapless prostitute who becomes a slayed statistic of sadism lured in by Holmes to greedily satisfy the nagging ghastly degeneracies. Most of the runtime runs with Ironbear licking at the chops, contemplating the next libidinous victim. Thick in the air is the sordidness moisture of solo self-gratification with unorthodox sex toys: a pig’s head, human blood, and other interesting, socially ignoble objects not fit to describe without dismantling in spoiler territory. Ironbear has to be a killer and a pretender, playing into a pretense that is a wolf in a sheep’s kinky-gimp clothing when Pitt’s prostitute steps into the motel room. Together, Pitts and Ironbear are electric, sexy, and give a damn good X-rated show of lust and macabre that turns the fever of carnality into a gruesome display of monomania participation.

“LoveDump” is not an attractive title, but suitable for unattractive content of desecrating the dead to the likes of Jörg Buttgereit’s “Nekromantik” and Marian Dora’s “Cannibal” while striving to be akin to Japan’s extreme horror like “Splatter: Naked Blood” or the notoriously sought after Guinea Pig films. “LoveDump” has an outrush of a snuff film that emanates a deep, dark secret club with elite memberships under pseudonym-ship in the producer and production departments. The makeup and special effects prompt disconcert of an upholding quality for an indie picture and, so much so, the affect of the human soul skin-crawlingly good that we can’t find ourselves looking away when the urge to be squeamish is strong. SamHel’s film digs niche graves that not everyone will have the courage enough to step into by choice. For myself, “LoveDump” is purely curious voyeurism, ingesting and digesting the film as an informational vessel of visceral paraphilias and without a solid plot to chew on, “LoveDump” is a straightforward stitch in time gorging more on graphic imagery than story and that is where the A Baroque House flick loses me to an extent.

Don’t expect palsied love-stricken hearts to be oozing with jubilee affections; instead, expect a romantic bloodbath of narcissism in a solo courtship like none other in SamHel’s ultra-gory “LoveDump” on a limited edition DVD and Blu-ray from A Baroque House. The camera work by the monikered Excessive Menace renders a SOV resemblance from the 90’s with a lot of unsteady handheld shooting as well as adjusting the clarity of focus, but the frames do flicker noticeably which can be a minor nuisance. Almost all the sex and gore scenes are in an extreme closeup the gives you an extreme eye feel for the commingling faux blood and real semen. One of my only gripes is with the angles in the intercourse with Apricot Pitts that didn’t translate over well without the proper focus and lighting to be as a graphic as possible. Since provided with a digital screener and the screener provided is a rough cut of the short film, there were no bonus material included, if there were any. The limited edition physical packaged Blu-ray will include the full HD uncut version of the film, a still gallery, a behind the scene making of, and trailer. I assume the LE DVD contains the same features, but are not specified. Be warned! “LoveDump” is not teeny-bopping horror filmed for any Joe Schmo to casually sit down to Netflix and chill with their partner, unless they’re into switch BDSM with an ichor fetish and, in that case, “LoveDump’s” an avant-garde aphrodisiac bred out of extreme and unwavering compulsions.

The Evil Inside and Out Won’t Stop You From Protecting Your Own! “Cargo” review!


A pandemic sweeps across the Australian land, transforming the infected into hunger-driven cannibals. Andy and his wife, Kay, boat down river in hopes to find a safe zone for their baby daughter Rosie in attempt to avoid major populations and even the occasional infected, but when Kay falls victim to a bite aboard an apparent abandoned sailboat while salvaging for supplies, the couple have no choice but to seek help on the mainland. Desperation leads to carelessness when Andy veers off the road and crashes. He awakens to his wife having turned rabid, sustaining a bite on his arm when saving his daughter from the backseat. With maybe two days until the virus overcomes him, Andy must find a way across a mostly vacant landscape to find someone to take care of his young daughter. With time running out, Andy’s plight takes him through a barren-inhabited land where he encounters various walks with some being too unsavory and too unsuitable for his daughter’s welfare.

Ben Howling and Yolanda Ramke are the first time directors behind the 2017, zombie-classified horror-drama “Cargo.” The screenplay was also penned by Ramke stemming from a remake of the directing duo’s short film of the same title. The short, that went on to be a finalist at the world’s largest short film festival, Tropfest, and went viral back into 2013, being showcased on the internets most popular genre sites. From there, the success of Howling and Ramke’s 7-minute short, encouraged by a strong fan base, was able to land equity to fund a full-length feature set in Howling and Ramke’s home country of Australia. The 2017 film added a star cast, a grittier and gut-busting bigger budget, and even landed back the main actor from the short film in a smaller, but significant role. “Cargo’s” bigger, more organic, and exalts the very essence of being human in an isolated, catastrophic, capitalism dystopia overrun with the chrysalis monsters.

English actor and star of the “Hobbit” series, Martin Freeman, lands the lead role of Andy. Freeman’s usual knack consists of being mild-mannered with a variety of facial expressions and his performance in being a desperate father in “Cargo” is no different; yet Freeman expresses another quality that consistently stays in the shadows of his other worth and that is strength. Andy might be conservative and portrayed as meek, but when push comes to shove, Andy steps to the plate and Freeman shows us his upper hand of his character’s abilities. Freeman works alongside first time child actress, Simone Landers, as Thoomi, an indigenous native offspring who relies on Andy to return her to her family while Andy relies on her to bring safety to his infant daughter. For a first time performance, Landers couldn’t have been more of a perfect fit aside the experienced “Sherlock Holmes” actor. Also co-starring in “Cargo” is Anthony Hayes, Susie Porter, Caren Pistorius, Kris McQuade, and, “Crocodile Dundee’s” David Gulpili who, to quote Ben Howling who said it best, is essentially Australian actor royalty.

“Cargo” isn’t your typical genre zombie film. In fact, I wouldn’t even brandish it the label of a zombie film. Ramke’s post-epidemic story reverberates a more familiar “28 Days Later” echo that spurs more life altering contagion than the dead resurrecting to feast on the living. The infect do not run, but stumble, like a zombie and also crave living delicacies; yet, their tainted blood seeps an inhuman generated neon-orange-like sap through facial orifices that feels more like the European zombie of an organic or voodoo nature. These human-turned-monsters also bury their heads below the dirt up to their shoulders in a state of transformation or a rebirth in a sense. The essence of “Cargo’s” villainy is expanded further from Howling and Ramke’s initial short film that just introduced a milky-eyed dead head and these types of infected give “Cargo” a better, more substantial presence in an overcrowded living dead genre, but the infected are not the main villains as people, essentially one capitalistic vulture, is the real threat against the protagonists.

Umbrella Entertainment presents “Cargo,” a Netflix film, onto Blu-ray home video in a sleek full HD 1080p and presented in a widescreen, 2.35:1 aspect ratio. The region B, MPEG-4 AVC encoded disc has great detail over the dry Australian countryside stocked with brown and brown vegetation, natural coloring across the board, especially in the infected’s neon-orange ooze, and an overall favorable viewing experience. The English 5.1 DTS-HD Master Audio doesn’t necessarily have a bombastic track, as it isn’t that kind of film, and the range is fairly around a mild-mannered tonality with a hiccup of gunfire and shouting in the ambient tracks. Dialogue is perfectly crystal clear in the forefront. Bonus material includes two featurettes, one entitled “Cargo: Shaping A Fragile Future” and the other “Cargo: Maternal Combat,” interviews with cast and crew, Q&A from May 2018 in Melbourne, the original Tropfest 2013 short, and the theatrical trailer. “Cargo” breathes fresh air into a threadbare genre with a sheer look into humanity’s willpower and callous.

Revenge is an Evil Dish Best Served Cold! “Gelosia – Vendetta D’amore” review!

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After Thomas’ voluptuous wife’s immaculate beauty falls victim to a horrifying and scarring fiery car accident, the sex-addicted womanizer, fueled by a constant stream of strong alcohol, dumps his maimed wife and obsessively hops from one unchaste woman to next, but in the darkest shadows lurks a hidden danger toward his newfound, unrestricted fast and loose lifestyle. A sinister plot of revenge against him begins to quickly unravel and Thomas’ stretch of unscrupulous carnal behavior is about to be ‘cut’ short because, as the ancient saying goes, “hell has no fury like a woman scored.”
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Alberto Barone’s vengeful sex-thriller “Gelosia: Vendetta D’Amore” is a short film laced with irrepressible desires and consequences, doused in pure hatred and nihilism, and packaged as a vibrant grindhouse homage garnished with a tightly-knotted black bow. Milton Welsh stars as Thomas, a man on a bulldozing sexcapade, and with Welsh’s raspy, baritone voice and slick back, greasy hair makes him, on screen, the perfect, middle-aged creep, hooking up with the shameless, uninhibited women. The German born Welsh has indistinguishable looks and talents with the impeccable “Doom” and Rob Zombie “31” actor Richard Brake that brings a lot of despicable enjoyment to not only the performance, but also with the monologue by Welsh throughout the short film. Welsh’s previous credits include the 2011 remake of “Conan the Barbarian,” “Aeon Flux,” and, one of my personal favorite Norman Reedus films, “Antibodies.”
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Welsh’s performing cohorts makeup solely of very well-endowed, very offensive-embracing women that include a porn star, a dominatrix, and a couple of veteran genre actresses starting with the Southern France born Manoush (actress in Marian Dora’s “Cannibal,” “Philosophy of a Knife,” and, most recently, “The Curse of Doctor Wolffenstein”) as Heidi, Thomas’ discarded wife. This dominating role didn’t feel quite right, slightly forced, from the possibility of this role not being in Manoush’s native tongue, constraining the gushes of violent emotions that should be exploding from within the character outward. Manoush directly interacts alongside “German Angst’s” Kristina Kostiv, as a very seductive Eastern European escort girl in a manner that blurs the motivations of the characters, but we’ll discuss that later in this review. Rest of the cast fills every man’s, sometime woman’s, prominent fantasy with sacrilegious Nunspolitation and naughty nerd girl scenario roles, respectively donned by Tara Rubin and German porn star Lana Vegas. Both Rubin and Vegas steal from “Gelosia’s” root message with their provocative performances that leave almost nothing to the imagination. Tattoo model Alexa van Unique gets kinky in a brief scene of dominance that’s short and sweet and gets the message across.
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“Gelosia” is Italian for Jealousy, but Alberto Barone’s written and directed film doesn’t hit hard with one of humanities irrational and vile attributes. More in line with the subtitle of “Vendetta d’Amore,” aka Revenge of Love, Barone tells two-stories: One of the monologuing, sex addict that objectifies women more than he wishes to understand them and a vengeful wife with a dastardly plot of deadly retribution against him. I just don’t see jealousy as the major player this short film is titled after and that, at least for me, dilutes much of the radical content supporting the story including the naked women, the gruesome violence, and the admirable cinematography.
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“Gelosia: Vendetta d’Amore” is sexy with shock value. Produced by Ingravisione, the exploitation thriller seeks to debut in late 2017! Overall, Barone’s ultra-exploitation leaves an indifferent residue with me as I’m still hung up on a few difficult to ignore hiccups, but I love the short’s perverse freedom as a whole that’s vivid and modern while staying classic in style. “Gelosia: Vendetta d’Amore” is starting to hit festivals as I type this, bringing all the castrations and sex to an arthouse theater near you!
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[youtubehttps://youtu.be/9PR-KtfhaA4]

Now, a Little Evil from Youtube: “We Love Our Monsters”

Teenage horror-throbs.  Young, dumb, and full of chum.

Batman versus The Terminator!

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30 years have passed since Bruce Wayne survived Skynet’s nuclear blasts in August of ’97. Iron demons now roam the planet, and without the requirement to defend the innocent against crime and injustice, Wayne has seeked refuge in the bomb shelter that saved his life; the Batcave.

Having scavenged the wasteland for resources, he discovers the radio of a dead soldier. There is static over a frequency. Flesh and blood is rising up to the west. With The Stinger; a riot control vehicular unit built before the apocalypse along with a refitted bomb blast vest, Batman makes his way across what remains of the United States to join forces with the man determined to neutralize the electronic menace – John Conner.

In a single word, awesome.

Pretty neat.