Tag Archives: SRS Cinema

Bruce Lee Fought EVIL for Justice. Mark Swetland Follows Lee’s Footsteps in “Blood and Steel” reviewed! (SRS Cinema / DVD)

Posted by Steven Lewis on

Hiyah! “Blood and Steel” – the Lost Kung-Fu Film now on DVD!  

The brutal murder of his sister and her husband sends Mark Swetland into a vengeful fury.  Behind the heinous act, a drug smuggling organization, using a steel fabricating warehouse and a dojo school as a front, had sent a merciless assassin to take out Mark’s sister after a previous incident with the organization’s personnel that could bring down the whole drug shipment operation.  As Mark investigates for answers and track down those responsible, he’s greeted with hostility and uses his extensive martial arts experience, and a little help from a few of his closest allies, to bring the syndicate down once and for all, but the cruelty conscious conspirators don’t plan to go down without a fight as they kidnap Mark’s girlfriend and hire a mercenary fighter to bring the fight to them on their own terms. 

If you’re a martial arts film connoisseur or just an aficionado of the action-packed genre, here’s an obscure title from 1990 you desperately need to get your hands on, today if at all possible!  “Blood and Steel” is the Bruce Lee dedicated crime and martial arts actioner from producer, writer, and director, Mark Swetland.  Yes, Mark Swetland plays himself, Mark Swetland, as the unstoppable, vengeful vigilante hero in his own production that pits him going solo against a scumbag kingpin and his narcotic import-export empire.  Only recently discovered after being lost for decades, “Blood and Steel” breathes fresh 2023 air with a new DVD release and institutes a brand new, never-before-heard maxim, created by yours truly, of though white men can’t jump, they can certainly Kung-Fu.  Perms, handlebar mustaches, and tight fitting and unappealing fashion grace the screen as nunchakus and hook kicks pave the way for this seriously gratifying choreographed Kung-Fu spectacular to be resurrected from the cache of forgotten films of the cinematic cemetery, shot in and around upstate New York complete with the N.Y. accented, short-a phonological vernacular.

Mark Swetland, proprietor of a safe and vault cracking company in Cheektowage, New York, was once a martial arts instructor.  At the current age of 62, Mark has looked to cracking open safes instead of cracking open heads with his mixed martial art skills but Swetland also once dappled in film, developing his own low-budget Kung-Fu caper, inspired by his martial arts idol, the late and legendary Bruce Lee.   Ponying up much of the funds for what would be “Blood and Steel,” Mark poured every ounce of his soul and craft into the film that displays his range as a fighter as well as getting his chops busted in delivering lines and acting out emotions.  The former was more of his forte with asserting a magnetic presence as both an onscreen fighter and a competent choreographer to have the fight sequences appear realistic and quick against a slew of antagonistic opponents.  As a thespian, Mark often borrows too heavily from Bruce Lee with overzealous fist poses to even echoing Lee’s idiosyncratic short and elongated kiai sounds.    Swetland’s one-on-one scene with fellow martial artist David Bobnik, as the hired hitman Steiner, is well thought out coordination with lighting punch-kick combinations that would rival the best genre films of its time.  Neither Swetland or Bobnik are overly muscularly cut bodybuilders or the zero percent body fat of Bruce Lee’s rail frame as both men are in an ideal, physically fit shape to add to scenes test of time and doesn’t yell amateur hour of wannabe martial artist attempting half-hearted roundhouse kicks for their low budget movie.  “Blood and Steel” round out with a cast that includes Joanne Gargliardo as Mark’s girlfriend, David Male as drug kingpin Mr. Patterson, Elaine Arnone as the slain sister, Diane Zdarksky as the sister’s best friend, Rick Swetland as the sister’s slain husband, and cinematographer Al McCracken has the role of Mark’s best friend and sidekick to the end, Roy. 

Influenced by quintessential Bruce Lee films, “Blood and Steel” is entirely an homage to the exceptional action icon.  Mark Swetland’s film derives elements from “Enter the Dragon” with a plotline of the protagonists’ sister being killed by a drug trafficking enterprise as well as straight down to Mark Swetland’s yellow tracksuit, the same Bruce Lee wears in “Game of Death” with black lines down the arms and legs.  Despite the derivative aspects, Swetland still manages to output an entertaining reel in what has resulted as a passion project that has been stowed away and forgotten only to be unearthed as a transmogrified time capsule of awesomeness.  Swetland, who wore many productional hats, also edited, scored, and did sound design with a fair amount of adequate know-how.  Transitionally between scenes, “Blood and Steel” works to segue into the next scene with various connective images or fade away dissolve without appearing abrupt or muddled.  The additional Foley work, such as the whipping sound of the nunchakus, are done on a synthesizer with an unquestionable audio yield.   “Blood and Steel” has a little bit of everything that is very indicative of a Bruce Lee actioner.  Dirt bike chases that soar from off of a cliff into an exploding heap at the bottom of a ravine, forward and reverse car chases involving a 80’s Corvette Stinger, practical effects from throats being cut to spike cleats becoming lodged into the back of skulls, ridiculous over-the-head, over-the-knee backbreaking fatalities, helicopter entrances over the colossal Niagara Falls, shotgun squib explosions, and much, much more blood-churning excitement can engage the viewer into “Blood and Steel’s” edge of your seat conflict. 

Emerging victorious as a SRS Cinema home video release is the obscure revenge-action thriller “Blood and Steel” on DVD.  Presented in the boxy 1.33:1 aspect ratio, the standard definition 720p resolution, plus the type of camera being used seen in the bonus feature’s outtakes and the impurity characteristics of the image quality, all point to a super 8 shot feature.  Lined left with barely visible sprocket holes and occasionally lined right, a visible magnetic audio strip, often blue in hue, “Blood and Steel” is without a shadow of a doubt a glorified home movie in the right hands of Mark Swetland.  The washed look is a tell sign of no overlay grading, the tri-color emulsion layer remains as the original, natural grading, creating less shadowy contrast but remaining consistent and more-or-less delineated.  The English, single-channel mono track is about as flat as a pancake, if a pancake could make noise.  With hardly any depth, a steady crackling throughout, and depending on the camera mic placement in the shot, some scenes’ dialogue can barely be heard under what sounds like a soft breath or mumble while others are clearly audible and render no issue with understandability. SRS Cinema’s special features include a Fight Analysis with Mark Swetland and David Bobnik going over scene-by-scene, sometimes in slow-motion repeat, their fight sequences and explaining in commentary fashion how the crew set that all it up. Also included are outtakes, the original trailer, the new trailer, and other SRS trailers! The physical DVD sports the original “Blood and Steel” poster plastered inside a standard DVD case of an 80’s retro-rental mockup with color-coded round stickers of the genre action and of the Please be Kind & Rewind phrase. The disc art is a blowup of Mark Swetland from the original poster art. The film runs at a brisk 87 minutes, is region free, and is not rated. “Blood and Steel” has the independent spirit of the dragon, a fierce and fire-breathing martial arts film with fervent laudation for the late Bruce Lee, and is a white knight knockaround and Kung-Fu Flick that is vengeance glorious.

Hiyah! “Blood and Steel” – the Lost Kung-Fu Film now on DVD!  

EVIL Will Suck on Your Menstrual Soaked Tampon. “The Hood Has Eyez” reviewed! (SRS Cinema / DVD)

Posted by Steven Lewis on

An Early 2000s Exploitation With Lots of Infamy!  “The Hood Has Eyez” on DVD!

Attending a school ditch party was the last thing the obedient Kimmy wanted to do but the peer pressure from her fellow Catholic schoolgirl friends convinced her to the other side of the tracks of town.  On the way, a half-naked woman runs out in front of their car and in attempt to flee the scene on foot, to protect their innocent repute status, they run into two gangsters holding them at gunpoint in an alley.  The now frightened teens are forced into an isolated park area, joined by the now fully-clothed and not injured woman they hit earlier in what has been revealed to be a ruse to rob them, but the gang leader, Psycho, has more distasteful and violent plans to squeeze more out of his prize than cash.  Psycho brutally rapes Kimmy and is left for dead by not only the gangsters but also the one other surviving girl she had considered to be her friend.  Battered and broken, Kimmy’s morality and reality snaps, sending her down an unmerciful vengeful path against those who condemned her to die.

If filmmaker Terrence Williams set out to make an exploitation film of genital mutilation, forced sodomy, and a man sucking on a bloody tampon, then mission accomplished!  The straight-to-video, SOV rape-and-revenger of monstrosities, “The Hood Has Eyez,” pulls no punches, knows no limits, and cares to give no concern for the atrocities it depicts.  A bastardized yet familiar rephrasing of an early Wes Craven classic, “The Hills Have Eyes,” Williams uses Craven’s basic setup plot to write-and-direct his own version of uncivilized lowlifes exploiting and murdering out-of-their-element travelers in the most graphic and appalling ways.  Williams takes the fear out of the hills and drops it into a remote park plopped in-between the suburbs and urban grounds, swapping out inbred hillbillies for Latino gangsters and a nuclear family for schoolgirls in short skirts and one unlucky white dude.  Collaborating producer and wife of Terrence Williams, Nicole Williams, has previously and subsequently worked together other films, such as “Curse of La Llorona” and “Horno,” under their now defunct joint company, Cinema Threat Productions in Los Angeles. 

The 2007 released “The Hood Has Eyez” reunites a good chunk of the cast from Williams’ “The River:  Legend of La Llorona,” “Revenge of La Llorona, “Llorona Gone Wild” and “Curse of La Llorona” films completed and released within a couple years previously which created a certain level of comfortability and trust amongst the cast as well as the cast and director.  With some of the intimately graphic content of “The Hood Has Eyez,” those warm and cozy congenialities play key to selling a broken bottle scene being rammed up a vaginal cavity or a nail hammered down into penis urethra.  Without that delicate easiness in the air, scenes like the aforementioned won’t work, resulting in the entire project collapsing upon itself even before wrapping up principal photography.  At the tip of the spear are Cyd Chulte and Antonia Royuela as the principled Kimmy and her antithesis, the deranged Psycho.   Chulte, who cut her teeth with roles in “Curse of La Llorona,” takes one-half the lead of a young woman broken by the barbarity and succumbs to justified vehemence for torture, dismemberment, coat hanger abortions, and eventual death but before being pushed to the edge of her life and into a state of insanity, Kimmy’s presence melds into the group of a lemming unit and takes a backseat to the other lead half behind Royuela’s unhinged ultra-violence of a gangster gone rouge from the plan.  Psycho’s posse – Joker (Carlos Javier Castillo, “Axeman”) and She Girl (Anne Stinnett, “Revenge of La Llorona”) – truly reflect their handles as Psycho’s devil and angel on his shoulder, trying to either egg him on or have him withdrawal while withdrawing is still in his favor but, of course, we wouldn’t have a debauchery and savage movie if the angel over the shoulder had prevailed and so Psycho has his perverse way with Kimmy and friends – Susan (Jesselynn Desmond, “Horno”), Rachel (Jamielyn Lippman, “The Absent”), and Jerry (Tom Curitore, “Llorona Gone Wild”). 

The way I see it, Terrence William’s trashy exploitation nod “The Hood Has Eyez” has three distinct parts, much like the three-act structure of any narrative archetype.  Terrence Williams defines these acts tremendously clear in an almost too simple of a way that it feels rudimentary, maybe even old fashioned.  The setup is simple:  overweening teens doing what they’re not supposed to be doing become caught up in an unfavorable part of town with a maladjusted gang.  The confrontation squares the two factions to a literal position of facing each other while the teens coward in fright and disadvantage as they forcibly bend to the will of the gun-toting gang calling all the shots.  The resolution pivots the story 180 degrees, like any good rape-revenge thriller should, after misdeeds thin out whose left for dead and who’s intractable impulses are fully left satisfied and goes right into execution mode without passing go, without collecting $200, and without pause of a trauma processing moment as Terrence Williams wastes no time digging deep into the sludge of psychiatric stability with a hasty move right to rectifying an eye-for-an-eye balance.  Up until a point, “The Hood Has Eyez” carries a lot of dire weight within the confrontational girth that can be hard to stomach.  There’s a few casually lighthearted and fun witty moments peppered beforehand, such as a jokes at the expense of airhead Susan and her player boyfriend, but then after the grave assault that leaves Kimmy left to suffer all the post-traumatic syndrome results, things really go dark, and I’m’ talking black comedy dark.  Kimmy goes into full Rocky Balboa training mode, doing pushups and enthusiastically practicing staff spinning in the light of the falling sun.  Terrence Williams actually gives Kimmy a rousing montage before ripping the dick off a two-bit thug.  Where am I getting to with all this?  Well, I’m not sure how Terrence Williams wanted audiences to digest his brutal film that goes through touchpoints of opposing genres.  Usually, if comedy and gore are present in one narrative, slapstick typically is the go-to conduit – think “Evil Dead II” or “Dead Alive.”  For “The Hood Has Eyez,” the gore effects are hearty, the characters are vicious and victimizable, and Williams maintains an intact beginning-to-end narrative, but confounds with a few choice character actions that sully the overall presentation.

The Cinema Threat Production has now been integrated into SRS Cinema’s Extreme and Unrated Label – Nightmare Fuel – and unquestionably is underground extreme horror at its foulest.  Released with a widescreen aspect ratio of 1.85:1 of the 420p standard definition, camcorder tape footage and in a new director’s alternative cut, “The Hood Has Eyez” has relatively decent image clarity with a very subdued amount of lossy compression results, especially for progressive scan 480 pixels.  Details are soft as expected with the commercial equipment and lower resolution but though a slightly faded color scale, the coloring range renders intense enough for higher marks and can play a trick on the eyes by falsely delineating the objects to create a space based off the hue edging alone.  The English Dolby Digital 2.0 track props up the quality even more with Terrence Williams using a boom mic attachment instead of the built-in mic to gather meticulously the intended dialogue and skirmish kerfuffle.  As a result, dialogue is really sharp here, especially during Psycho’s off-the-rail verbal abuse, rants, and one-liners.  The post-production Foley stands apart from the inhouse sound with prefabricated sound bytes but that’s the way of micro-independent filmmaking.  The alternate cut includes a newly shot opening scene that was originally intended for the original script that was added back in to actualize the Williams’ vision after a cast sudden dropout departure.  Bonus features include a commentary with Terrence and Nicole, a raw, secondary cam behind the scenes footage in making certain scenes, a blooper reel, image slide show, two original cut trailers, a new trailer, and a Women in Horror vignette featuring Nicole Williams discussing the importance of women in horror and her contribution to the genre.  The release is presented in a traditional DVD snapper with a beautifully illustrated cover art based off the shoddy composited “The Hood Has Eyez’s” one sheet.  In the past few years, SRS has upped their game with cover arts and continue to impress with their new branding campaign that makes these films feel no longer cheap at first glance.  Inside, the DVD press art is the same as the cover with much of the RGB removed to a single layer red. There is no insert inside the case.  Terrence Williams set out to capture the inelegant essences of nitty-gritty exploitation and hits the nail on the head, literally, with this passion project of perversity. 

An Early 2000s Exploitation With Lots of Infamy!  “The Hood Has Eyez” on DVD!

EVIL Wants You to Be Mindless! “Night Feeder” reviewed! (SRS Cinema / Blu-ray)

Posted by Steven Lewis on

“Night Feeder” Is a Brainless Trip Through the New Wave Eighties! 

A woman is found dead on the city streets.  The cause of death is the same as two others before with similar wounds; their brains are sucked out completely through a slit in the eye socket.  As the neighborhood community cowers in fear, Jean Michaelson, a female magazine journalist and who also just moved to the residential city district, takes it upon herself to uncover the truth before her new home becomes an unlivable nightmare.  At the center of suspicion is Bryan Soulfield, a musician a part of the band Disease, previously involved in the death investigation of three women groupies who overdosed on a drug called DZS that shares the same phonetic name Soulfield’s band.  Inspector Alonzo Bernardo spearheads the investigation with an ever-watchful eye on his best suspect, Bryan Soulfield, and an even keener interest in Jean Michaelson as they both feel the grip of public pressure and come intimately closer to each other and to the unsuspecting and shocking truth as the bodies become more frequent around Jean’s apartment.

Obscure, one-and-done horror can often be worth the viewing calories and 1988’s “Night Feeder” is definitely the epitome of those hidden gem genre films from America’s exploration into the video format and stemming into another branch of liberal arts.  “Night Feeder” was the result of an assemblage of a painter and a pair of novelists who, out of the blue, decided they wanted to make a movie.  A gouache and oil painter of portraits, often nude, Jim Whiteaker tries his talented brush stroking hand at directing a full length shot-on-video feature with mystery writers Linnea Due and the late Shelley Singer crafting a murder whodunit in a grisly brain slurping fashion that conveys heavily on the theme of misjudging a book by its disfigured and notorious cover and end with a killer you never see coming – because it’s sucking out your brain through your eye socket!  “Night Feeder” is also emblematic amongst other spoiler-inducing concepts that we’ll dive into later in the review.  Shot in the dark corners of the San Francisco Bay area at the liberal arts focused Dutch Boy Studios, “Night Feeder” is glam horror ripe for attention, produced by James and Jo Ann Gillerman under the production banner of Gillerman-Whiteaker-Gillerman.

For an investigative horror-thriller in the crevices of a phasing new wave and post-punk era, the low-budget production has a remarkably versed cast of unknown, likely hyper regional, actors.  Kate Alexander (“Kamillions”) cut her teeth as principal character, journalist Jean Michaelson, and instills a healthy dose of raw emotion into an unlikely B-flick, tamping her performance firmly into the role caught in a love triangle between punk musician and prime brain-sucking suspect number one, Brian Soulfield  (Caleb Dreneaux) and by-the-book police inspector, Alonzo Bernardo (Jonathan Zeichner) confounded by killer’s strange methods.  Not to forget to mention the ominous presence that possible lurks around every corner that drives shivers up Michaelson’s tattered spine, making her vulnerable and blind to what’s really in front of her, romantically and threateningly.  We’re briefly introduced to support characters, aka soon to be victims, and then eventually snowball into the quickly dispatched before having a chance to steal or swallow the protagonist predicament for their own, but these support characters are engaging enough to be either drug pushing scoundrels, intolerant jerks, or spaced-out mothers so you can tell from the beginning their level of likeableness before their fatal end, but at least they’re not benign, vanilla cogs in the machine. The cast fills out with Lissa Zippardino, Jac Trask, Ginger Seeberg, Roger J. Blair, Robert Duncanson, Robert Hogan, and the Bay-born cultural critic Cintra Wilson and a special soundtrack performance by the new wave rock band, The Nuns as the fictitious band, Disease. On top of that, Dutch Boy artists fill the gaps in minor roles like waiters, party guests, and concerns citizens as a public gathering.

Despite playing out like a police procedural investigation that narrows down suspects until the killer is unearthed and either arrested or gunned down in a harrowing, desperate moment, we all know ahead of time “Night Feeder” is cladded with more than just plainclothes of cops and robbers.  The big tell is the brain being liquified and sucked out from the eye cavity like a Slurpee minus the brain freeze because, well, there’s no brain!  “Night Feeder” sounds like a mindless Z-grade film and while the narrative involves mindlessness in a way, the 80’s creature feature is anything but a ponderous film with an immense underground punk presence, eccentric personalities, and a standoffish and reticent romance brewing in the background sandwiching the strange deaths of unconnected murders piling up around the heroine’s noir-esque, urban jungle neighborhood and perplexing the lone law authority on the case.  Whiteaker and his writing team thoroughly include the residents and residents’ concerns which makes “Night Feeder” bigger than it really is as it is often with lower-budget creature features will neglect to include the angry, scared mobs into the conversation.  The narrative intends to spark public fear and uses it to drive Jean into a rabbit hole of truth that has now become more personal than professional since her space has been affected by an invading killer.  Her best friend ending up dead in the tub of her apartment during a neighborhood party and with her ex-husband found slumped out of the driver’s seat of his car shepherds violently out her old life into a new, scary territory of relationships.  A director having an artistic background and working with creative storytelling minds lends to a more than average physical special effects and becomes a Jonathan Horton (“Enemy Mine”) showcase of skill that removes “Night Feeder” from the average pool of shoddy effects films and into a higher class of eye-catching, detailed creepiness that is unique and can’t be unseen with an autopsy that’s all too realistically educational and with its climatically exposed humanoid creature and it’s protruding cerebral sucking device.

Strong effects, strong story, and a strong female character serve the “Night Feeder” as a secret menu item in the SRS Cinema catalogue!  The Cursed to Crave Forbidden Flesh tag lined film is presented on a single disc, AVC encoded, 1080p high definition Blu-ray with a letterboxed full frame aspect ratio of 1:33:1.  One of the better looking 80’s film on a budget, “Night Feeder” is tremendously insignificant SOV interference, which makes me believe Whiteaker and director of photography, Paul Kalbach, had their hands on non-commercial grade video camcorder and after doing some research, the camera used was a BetaCam SP that increased the horizontal likes to over 340, likely from to Whiteaker and Gillermans’ artistic music videos and seemingly at the advantage of Kalbach’s Artichoke Productions in the Bay area that gained him a reputation as a visual artist and “Night Feeder” very much plays into being a vision of New Wave horror with a glowing aura, vibrant warm, almost neon-like lighting hues, and, of course, the two semi-music videos of The Nuns making their way in front of the camera.  Virtually no technical issues with the image albeit a flat coloring, a blip here and there with a brief blip screech, and softer details with the glow haze outline that provides the movie a prolonged dreamy coating or an inescapable nightmarish ethereal within the context of the scene.  The English language Dolby Digital 2.0 stereo carries a lo-fi but sustainable level that celebrates the dialogue and divvies the other tracks to accommodate the little depth it can muster with the BetaCam recording. English subtitles are not available on this release.  Special bonus features include a commentary by director Jim Whiteaker who provides the genesis of the film and gives background on the characters and actors, a movie still slide show, and SRS trailers that include “Day of the Reaper,” “Garden Tool Massacre,” “The Son of the Devil,” “Hellbox,” “Truth or Dare?” Physical features are housed in a traditional Blu-ray snapper case with new composition artwork with the original embossed title and a still one of the more gory-ladened victims, but the reversed side carries the one of the original key arts that embodies the true essence of “Night Feeder” in illustration of a monstrous hand in the foreground of skyscrapers, reaching up and over a sensuously positioned lifeless woman who resembles the lead actress. The disc art is printed with the same illustrated image. The region free Blu-ray has a runtime of 95 minutes and is region free but is listed as a 2020 film in the same design grouping where usually the date listed is in the production release date, which in this case would be 1988. Tidied up and polished, SRS Cinema Blu-ray of “Night Feeder” is a quarried gem by a group of diverse artists bringing their leathery inlaid and new wave touch of artistic licenses to develop a subgenre standout in the 80’s creature feature category.

“Night Feeder” Is a Brainless Trip Through the New Wave Eighties! 

The Picked-On Runt Can Be EVIL Too. “Little Corey Gorey” reviewed! (SRS Cinema / DVD)

Posted by Steven Lewis on

“Little Corey Gorey” Uncut and on DVD home Video at Amazon.com!

After losing his father to a fatal accident, little Corey Gorey is forced to relocate to a new home with his overweight, alcoholic, and verbally abusive stepmother and similarly so, racist brother-in-law, Biff.  Constantly receiving the short end of the stick, Corey tries to retain a normal life by buying Ozzy Osbourne concert tickets and meeting girls at high school, but when his bigger, older Biff raids Corey’s broom closet of a room searching for a pinup one-sheet, he discovers the concert tickets and hooks up with Corey’s dream girl from school.  In a fit of rage, Corey accidently kills Biff as the two scuffle and with that Corey sows the seeds of salvation as the teen who was constantly tormented and afraid to talk back now is eager to take his life back.  Keeping his stepmother tied to the couch and gagged from making noise, Corey dismembers what’s left of his brother into the storage freezer and includes the sociopathic girl of his dreams into the fold but when a nosy mail carriers begin to snoop around and a drug dealer is seeking payment for the cocaine he fronted Biff, the bodies begin to pile up and Corey finds himself over his head.

Talk about your unhappily ever after Cinderella story, “Little Corey Gorey” goes from rags to wreaking havoc by way of severing limbs and meat grinding body parts all the while trying to sweep a rebellious older high school girl off her feet in an attempt to run away from all the carnage and abusive adults.  Bill Morroni, credited as William Morroni in the film, wrote and directed his debut feature in sunny California that is anything but sunshine and good vibes in this 1993 released, dark horror comedy obscure to many horror fans. A real highlight of early 90’s low-budget horror done right with smartly placed and highly effective practical effects, “Little Corey Gorey” is a begrimed gem waiting to shine, produced solely by Morroni under his self-funded principal production over the course of a few weekends. 

What makes “Little Corey Gorey” half as enjoyable as it turns out to be is because of the cast.  Once plagued by unfortunate circumstances, such as an example with the untimely death Divine (“Multiple Maniacs,” “Pink Flamingos”) who was to have a lead role, that one might consider the film be cursed celluloid even before principal photography, Morroni was able to overcome with a perfectly suited set of talent to tackle Corey Gorey’s gruesome exploits of dysfunctional family survival.  The titular role was awarded to Todd Fortune whose diminutive size really plays against the larger and towering figures that make his life a living hell.  Divine would have stepped into the shoes of wicked stepmother Betty and even though Divine would have done phenomenally in a constant-drunk state of a barraging verbal abuse and torment, Pat Gallagher filled the cankerous role with despicable-inducing results and gives a real witch of a woman performance to not only Corey but also her actual on-screen son Biff.  Greg Sachs might be stiff as a board as the older brother with racist overtones and a compounding dislike for Corey, but Biff turns out twisted enough to be an antagonizing accomplice in building Corey’s pent-up survival garnished with ghastliness.  One of the more scene stealers is Brenda Pope as the bitchiest high school narcissist Jackie who has somehow swooned Corey’s rationality and has him hanging on her tongue with every lie.  From special feature commentary by Morroni, Pope was a real life true-to-form unpleasant person behind-the-scenes as well as in front of the camera but that doesn’t stop her good looks and devilishly delectable moodiness and conceitedness from drying out.   As a group, you can feel every resounding personality types and cluster of chaos that spits out sympathy for Corey despite the curated torture from those who are supposed to care for him and also feel not one ounce of pity for Corey’s tormentors turned minced meat at the hands of the water treading teen.  “Little Corey Gorey” has a neighborhood ensemble featuring parts by Edenia Scudder, Sabino Villa Lobos, Kristin Caruso, Bernice Smiley, John B. Tomlinson, and William Linehan has an escaped prisoner and mass murderer being built up by the news media with his convenient store killings only to be the only part of “Little Corey Gorey” to fizzle out in a subplot to nowhere. 

With a spiffy name, a thematically onboard cast, and some really good editing and camera work, “Little Corey Gorey” surprisingly has a lot going for it despite being shot on 16mm variational stock and using scratch audio, aka studio dubbing, that makes the 1993 feel and appear more rough and ready than necessary, like a wrinkled, toothless middle-aged man after smoking and drinking heavily for half his life, but in the grand scheme of things, “Little Gorey Corey” has held up moderately well in quality and in story.  Through the spikey colored wigs, cut off sleeve shirts, mullets running rampant, and good seat concert tickets with a price tag of $18 might have run their course over father time, bullying remains a hot topic to this day.  Dysfunctional family dynamics, blind and fatal obsession, drugs use, and being in the friend zone with a haughty hottie also hasn’t changed much.  You can’t help not feeling pity for Corey and the excruciating awkwardness of him pulling out all the stops in order for Jackie to notice his heartfelt, romantic gestures and advances only to be immediately blown out of the sky like a Chinese weather-spy balloon gliding over Montana.  Everything that happens to the thick-skinned kid culminates to a head, to a finale of penetrating his usually impenetrable, encrusted scar tissue of a shell that just seems right or justifiable that when the world pisses on you, you cut off its penis with a corded circular saw.   

“Little Corey Gorey” receives a new scan (upscaled?) of the 16mm source material and drops onto a re-release from SRS Cinema!  Though still framed in a full screen 1.33:1 letterboxed aspect ratio, the transfer looks much clearer than the original VHS release with brighter grading and an enriched image that delineates edges and some details.  The variation in 16mm stock is obvious, more so in only a handful of scenes in comparison to others, with only a very select few offering a shoddy, nearly obstructed view of focal objects.    One thing about the SRS Cinema DVD back cover is it lists a new HD transfer from original camera negative, but DVD can’t be high definition. Since the DVD and the limited-edition Blu-ray share the same cover, I assume this speck of information wasn’t removed, redacted, from the Blu-ray back cover. The English Dolby Digital 2.0 scratch track, aka dub track, is what it is – an on-budget audio format that has doesn’t quite run in the same space to the image but is still an impressive parallel audio track that synchs nearly identical to the actors’ mouths. There’s an obvious electronic hum throughout that never quits so the interference often drowns out slightly any ambient noise, if any, were added for depth and weakens the dialogue strength, which was not entirely robust at the beginning. Hair metal becomes “Little Corey Gorey’s” soundtrack to slashing with featured tracks from Creature because if you can’t hire Ozzy Osbourne to score your film, you get the 2nd, 3rd, or 10th best thing that brings the metal. The bonus features include a directory’s commentary, a 77-minute William Morroni interview that unboxes all the aspects of the film from individual cast bios to equipment availability and issues to marketing woes and to the whole kit and kaboodle in regard to his little movie, and SRS Cinema film trailers, including this “Little Corey Gory”. The DVD sports a beautifully grisly illustrated cover art, similar to what SRS Cinema accomplishes with all their other titles, with an accompaniment mustard yellow, retro-grading design. The disc art is duplication of the front cover art and there is no inserts inside the traditional DVD snapper case. The region free DVD comes with an uncut version of the film that has a total runtime of 91 minutes. “Little Corey Gorey” is a big gory lorry that drives a mean-spirited, misanthropic marvel right out of the 90’s and into our television sets as this forgotten film can no longer stay forgotten.

“Little Corey Gorey” Uncut and on DVD home Video at Amazon.com!

Become Wrapped Up in EVIL with “The Shroud” reviewed! (SRS Cinema / DVD)

Posted by Steven Lewis on

“The Shroud” now available on DVD from SRS Cinema!

Centuries before, an evil witch is brutally tortured and killed while covered in a white shroud. In present day, a nun, part of a special sect vowed to never let the unholiness of the shroud deviltries be unearthed from the forgotten rubble of a divine stupa, is raped by two men wearing masks. With the help of a hired obtainer, the nun will stop at nothing to get her hands on, even at the defiance of her brother’s advice, but the shroud’s a bewitching mistress and its power are intoxicating. Breaking her piety pact with God and her sworn duty to protect man from wickedness, the nun succumbs to the sin that drips from the shroud’s blood-soaked fabric and exploits its personification powers of evil doings by not only exacting revenge on her attackers, sending the shroud to assassinate her attackers without an ounce of mercy, but also converting her devout habit to a shameless, promiscuous one of immorality.

A made-in-Italia possession film about a killer burial garment and a nun with big guns giving out the last rites. What could go wrong? The immediate impression arises a lot of interest in this 2022 released inanimate killer object flick from writer-director Fabrizio Spurio. As Spurio’s third feature in the horror genre, “The Shroud” envelopes the 50-year-old, Rome-born director’s first ambitious single story length venture behind the more episodic anthology, “Innesti,” and the more obscure “Vanity,” that taps into the willingness participation to do anything for stardom. “The Shroud” embarks into a more religious and supernatural discourse that clashes the sin and the sinner with a blurry line of empowerment. Made with pennies, or rather made on the Italian centismos on the Euro, “The Shroud,” or “Sindome,” is a production of the Dario Argento and Lucio Fulci inspired Goreproduction company, cofounded by Spurio with Francesco Lagonigro tacked on as a fulltime collaborator in shooting low-budget, independent, free-thinking cinema of underground horror.

The last time I saw the sultry lead Italian actress and extreme indie horror luminary, Chiara Pavoni, was in the avant garde “Xpiation” helmed by one of, if not the dominant, underground horror filmmaker, Domiziano Cristopharo.  In her motherly-voyeuristic role, Pavoni radiated with dark, sphinxlike desire in her well-dressed, pin-up sex-symbol performance of longing and control.  Pavoni doesn’t stray far from that archetype with her latest role in Spurio’s “The Shroud” as she plays a woman of virtue, a nun to be more exact, who has quickly turned lubricious and vindictive after her being raped.  Pavoni is certainly bodacious on screen as she adorns tight-fitting outfits that barely contain her snugly-packed large chest, exposing a Mariana Trench deep cleavage in a Spirit Halloween sexy nun getup for much of her role’s sordid side.  As a thespian performer, Pavoni has the subtle moves of a temptress who knows what she wants but dialogue deliveries are something left to be desired as the “Demonium” actress goes through the motions of plain speak as does much of the other cast, including the Goreproduction producer costar Francesco Lagonigro. Lagonigro plays her object obtainer who, by the seducing forces of the shroud, turns into her sex-slave or gothic lackey as visions of death please feed him the sensation of guilty pleasures. Lagonigro’s version of a factotum is about as cheesy as they come with a glaring lowered brow and white and black face paint to embellish something that looks nowhere near sinisterism. If we’re supposed to take Lagonigro’s maniacal manservant role seriously than Spurio, and Lagonigro for that matter, misses the mark badly in a poorly sized up rendition of a Renfield like stooge. “The Shroud” rounds out the cast with many miniscule, nearly nonspeaking roles with Paolo Di Gialluca (“7 Sins”), Andrea Pucci, Allesandro Massari, Giuseppe Andreozzi, Sara Lagonigro, Monica Rondino, and Andrea Pacilli and Samuele Lagonigro who composed the score for the film under the moniker, Sam and Andy.

As you can see, “The Shroud” is a family production for the Lagonigros who won’t hesitate to pitch in to make Francesco’s lewd and crude extreme horror on a bar tab’s worth. Conceptually, “The Shroud’s” an appealing idea of religious hypocrisy and the natural human desire to be immoral. Rules are meant to be broken as Spurio seizes control the very one thing a woman should have control over – her body. By introducing rape by two masked men, Spurio rips away that control and for a nun who whole schtick is to abide by God by maintaining purity in keeping her holy temple intact, she must seethe with humiliation in front of her Lord and inevitable turn away from him because there is nothing left unadulterated to give. She has sinned, whether intentional or not, and so the tainted nun must keep on sinning in various ways: lust, revenge, and murder. Despite being on a budget, Spurio’s ability to liven up a plain white tablecloth is what making movies is all about as the shroud lives and breathes on screen, moving in an agile manner, and becomes a physical presence that can gore a man through. Sleight of hand scene reversals bestows the shroud with a life of its own, creating a slithering dolman of death that looks great in the humble presentation. That kind of DIY special effects translates the same across the slender 76-minute with practical gore gags that rest above mediocracy, and I can say that with a straight face. “The Shroud” will have very few claims to cult fame with a slew of sloppiness that takes the zero-dollar expenditure and makes it appear even cheaper than pocket change. There’s even a scene where the director is clearly reflected into the frame, not even an attempt to hide or review for need to reshoot.

“The Shroud” is warm and cozy when it’s not trying to kill you! SRS Cinema, a leading purveying of underground cinema, releases Fabrizio Spurio’s “The Shroud” on DVD as part of the company’s extreme and unrated nightmare fuel label. Distributed through MVD Visual, the region free DVD5 is presented in an unmatted widescreen 1.85:1 aspect ratio with a commercial grade quality of a standard definition camcorder that maxes out on the higher side of output of a 720p resolution and so the final result looks fairly okay for DVD. For much of the natural lighting, the high contrast works extremely well, creating deep shadows that make the film feel richer than its actual value, but the details and textures are often soft and bleary, washing out any kind of tactile material. Luminescence of green and blue gels as well as double overlays are used to symbolize nightmares and shroud vision are more headache inducing than a stylish solution when mingled with an industrial engine rumble or high-pitched and stretched vocal score with some piano keys tossed in to mix it up. The Italian language dual-channel stereo is a lossy, unbridled catchall. As much as the audio is purely soundtrack, there is still an insurmountable of sounds being captured by the camcorder mic that softens the desired prominent audiles, such as dialogue which becomes trapped in a cavernous state of echos and various levels of pitch inconsistences. The subtitles on the SRS DVD appear to be translated by a person with English as not their primary language as a tone of grammatical errors, punctuation mistakes, and absolutely zero capitalization tarnish an already low-rent feature. If you can work your way through the strangely designed menu options to the bonus features, you’ll find included raw take bloopers, photo gallery, music videos starring Chiara Povani and Francesco Lagonigro, and SRS trailers. The physical package is perhaps the best part of “The Shroud” with a true-to-form beautifully dark illustration of the most memorable character faces to exhibit in the film, crafted and designed by Avery Guerro. “The Shroud” is an estimable underground piece of the extreme horror art pie but slacks in unnecessary places and becomes an exemplar of a shoddy and careless production that ultimately hurts the overall value of its genus.

“The Shroud” now available on DVD from SRS Cinema!