Sonar Radiation is Music to the EVIL’s Ears! “The Living Dead at Manchester Morgue” reviewed! (Synapse / Blu-ray)



Don’t Let the Sleeping Corpses Just Lie!  Grab a copy of “The Living Dead at Manchester Morgue” at Amazon!

After having a run-in with a beautiful woman, Edna, at a gas station who accidently wrecking his motorbike, Manchester antique dealer George offers to drive her car to her destination in the country, her sister’s place in Southgate, and then borrow the car to continue on toward his appointment in Windermere.  However, upon their arrival in Southgate, Edna’s husband Martin has been brutally murdered and the police immediately suspect the two urbanite out-of-towners George and Edna of coming the heinous crime.  In reality, the recently dead in a mile radius has their nervous system reactivated and directed to kill the living by a new sonar radiation technology aimed to destroy crop pests.  With the police and the dead on their heels, George and Edna seek to expose the truth to the world before its too late and the experimental new pesticide’s range is extended to cover more ground. 

Hitting the stop button here before we dive into our review of “The Living Dead at Manchester Morgue.”  If you’ve never seen the Jorge Grau directed 1974 flesh eating zombie film then drop everything – you’re work, your kids, your winning lottery ticket worth millions – and take the next one hour and 33 minutes to enjoy the graphically gory, social commentary horror that not only cashes in on the George Romero “Night of the Living Dead” gamechanger undead horror but also rivals Romero’s film in story and in full, gorgeous color.  “The Legend of Blood Castle” director Jorge Grau helms the Spanish-Italiano co-produced script penned by Sandro Continenza (“Uncle Was a Vampire”) and Marcello Coscia (“Teenage Emmanuelle”) and was provided to Grau by “The Eroticist” and “Don’t Torture the Duckling” producer Edmundo Amati who wanted to make a Romero-esque flesh-eating zombie film of his own.  Also more widely known as “Let Sleeping Corpses Lie,” “The Living Dead at Manchester Morgue” is co-produced by Manuel Pérez and is a co-production between Star Films and Flaminia Produzioni Cinematografiche.

Hot off the presses of Italian action-crime dramas, Ray Lovelock (“Emergency Squad,” “Almost Human”) finds himself playing an antique merchant holding up shop in the metropolitan area of Manchester, England and as George Meaning, the relatively undisclosed personal experience as an antique merchant, Lovelock gets into character not on the business end but when the shopkeeper goes on holiday in the country, riding his motorcycle Windermere where he has arranged a meeting with some very important people that never flesh out in the end. Speaking of flesh, don’t expect the leading lady Cristina Galbó (“The House that Screamed”) to provide any as the panicky Edna Simmonds on her way to her sisters (Jeannine Mestre, “Count Dracula”) for an intervention toward her sister’s severe heroin use. Much of the only flesh to be hand in “The Living Dead at Manchester Morgue” is that is which ripped from the bodies and stuffed into rotten, undead mouths. In itself, the entire scenario between Edna and her druggie sister is a compelling enough story to warrant attention in accumulating a sense of sisterly betrayal and a sacrificial compassion to do the right thing despite the consequences. However, that pathway, no matter how distressingly prominent it may seem, does not carry over into the main plot points of an experimental pesticide treatment involving sonar inadvertently raising the dead to be superhuman zombies. Between an Italiano (Lovelock) and a Spainard (Galbó), who not throw in an American while we’re at it with Massachusetts born Arthur Kennedy (“The Antichrist”) to be the aging local inspector keen on pinning every murder on youthful urbanites with their hippie ways and satanists beliefs. “The Living Dead at Manchester Morgue” fills out the cast with José Lifante (“Night of the Walking Dead”), Vincente Vega (“Historias para no dormir“), and “Flesh+Blood’s” Fernando Hilbeck as the foremost feared zombie.

What makes Jorge Grau’s take on the living dead canon so impressive is not only the social commentary story that seeks to deconstruct ecological progression as an ironic destructive poison to the Earth and its inhabitants and the striking moments in gore effects from the team of Juan Antonio Balandin, Luciano Byrd, and Giannetto De Rossi (of Lucio Fulci’s “Zombi”) that have remained timeless in holding up and rivaling against many of today’s gruesome effects, but also the terror-inducing sound design that combines Giuliano Sorgini’s funky-spook with Antonio Cárdenas zombie-vision resonances of heavy breathing and resonating heart thuds that cues the lurking of an undead lurker.  The effect is potent and full of imminent danger when included into Grau and cinematographer Francisco Sempere’s (“Death Will Have Your Eyes”) perfectly framed shots of the Romero-esque zombie lumbering toward their prey in an unstoppable hunger to kill and eat and, sometimes, convert to their infant-legion inside-and-out of the zombie perspective.  Along the lines of “The Living Dead at Manchester Morgue’s” environmental theme is the juxtaposition of big city and countryside in regards to their pollution levels in the opening credit scene where George rides out of Manchester through the degradation of the masses who are popping pills, wearing face masks (like in today’s COVID climate), numb to shock (in the scene where a naked protestor runs in front of stalled traffic for peace and the motorists are blank to the moment), passing by death and polluted nuclear smoke stacks.  Once the lead George reaches the countryside, he removes the scarf covering his nose and mouth and breathes in fresh air with a smirk on his face.  From then on, the story moves forward with a cautionary tale of ill-fated modern progression, such as urbanism, seeping into a natural landscape and causing death and destruction, leaving an poignant aftertaste in the inevitably of man’s ignorance will kill us all.  Grau’s film is a good candidate to be a promotional movie for the dramatic effects of climate change in today’s campaign for ecological change to reduce our carbon footprint.

Synapse brings “The Living Dead at Manchester Morgue” home onto a Blu-ray home video, restored in 4K from the original camera 35mm negative that includes the authentic and intact opening and closing credit sequences. The region free, AVC encoded release is presented in 1080p high definition of a widescreen 1.85:1 aspect ratio and the picture is the gold standard of presentation with a vivid and stable color palette, controlled DNR without any posterization, and greatly detailed without an inkling of lossy image quality. Two audio mix come with the release – a DTS-HD Master Audio 5.1 surround sound remix and the distinctive to the Synapse release the original English theatrical mono mix. Though nice and nostalgic in the original English mono mix, the clarity and robustness of the channels on the DTS-HD track is by far superior with its reformulated by Synapse lossless quality and fidelity, especially in that aforementioned sound design by Antonio Cárdenas. The English dub on Ray Lovelock can be off-putting at times but the track is still beyond the best of the two available audio options. English SDH subtitles are available. Extras include two audio commentaries by author and film scholars Troy Howarth, Nathaniel Thompson, and Bruce Holescheck, a feature length (89 min) documentary Jorge Grau – Catolonia’s Cult Film King that explores the lift and films of director Jorge Grau, The Scene of the Crime is special effects and makeup artist Gionnetto de Rossi discussion on the film, another de Rossi feature of the SFX artist at a Q&A at the Festival of Fantastic Films in the UK (43 minutes), the theatrical trailer, TV and radio spots, and a sleek black snapper case that wouldn’t be complete with a Synapse catalogue booklet. If you’re a diehard zombie genre fiend, Jorge Grau’s “The Living Dead at Manchester Morgue” must be at the top of your personal video collection. If it isn’t, kick yourself in the shin really hard and then check out Synapse’s gorgeous release of the Spanish-Italiano production that’s worth every second of your life viewing.

Don’t Let the Sleeping Corpses Just Lie!  Grab a copy of “The Living Dead at Manchester Morgue” at Amazon!

Two College Girls Are Subjected to EVIL’s Violations Below Deck. “White Slaver” reviewed! (Impulse Pictures / DVD)

Two college girls are abducted and brought aboard a small yacht by a sex trafficking white slaver. Bound and covered, the young girls have no idea where they’re being taken or what’s in store for them by their three kidnappers, but the captors’ perversities are clear when the girls are forced to strip naked and submit to multiple sexual depravities against their will. When one abductor sympathizes with their ordeal, he attempts a dangerous escape plan to save the girls from a sex slave fate, but his degenerate cohorts have other plans.

If you have an unallocated 60 minutes of your life to spare for a below deck X-rated roughie, “White Slaver” would be all-aboard lecherous pleasure cruise to kill time. The anonymously directed “White Slaver” is the quintessential 42nd Street fare regularly spanked to on every other corner theater established with luminous marquees or neon signs lighting up salacious keywords and acronyms, like Sex or XXX, inside the once infamous The Deuce stretch of New York City. Also known as “White Slavers,” the pornographic roughies, like the 1974 released feature, are typically scarce in background and information due in part to the pocket change budget and low on the totem pole unknown sex studs and starlets engaging in mediocre debauchery in the single sticky setting of steerage, an appropriate term for cheap seat patrons. Bookend by the title and the end title, “White Slaver” is claimed by none, recognized by few, and holds no designation for a production company or even who produced the one-hour fornication of the seas.

So, who is the cast that comprises up the porn that makes a debasing mockery of the severity of sex trafficking? Well, who the hell knows? Only half the cast is credit on the back of the DVD cover and same credits are listed on IMDB.com and a deep rooting search, inserting every possible name combination one can think, through the search engines of the world wide web has come up with exactly diddly-squat. While in the early beginnings of the gilded age of porn, “White Slavery” doesn’t exactly have the cream of the crop of the then industries top shelf A-listers like Joey Silvera or Vanessa del Rio. Instead, we there’s a guy with two first names, Bill Scott, a white slaver in a sweater with an average porn-stache. In the most rigid, uninterested, lack of enthusiasm performance I’ve seen from a male performer in a long time, Scott’s blank expression sums up his own bag of tiresome tricks as he slums through his scenes with brunette #1 (uncredited first kidnapped college girl) and brunette #2 (uncredited Jim’s sleazy, tits-out, beer drinking, bi-sexual boss). Frankly, the female cast are appealing with a variety of taste to accommodate. Brunette #1 is a slim figured beauty, toned in all the right places, with an innocent face. Brunette # 2 contrasts #1 with a more butch approach and a thicker physique. The third woman, listed as Devon Mayer, is a blonde bombshell with a small waist and buxom chest and while Scott gets his licks in with both brunettes, Mayer is sexing only, who I assume is her husband, Jim Mayer as the two share a couple exclusive bowline knots, if you get my sailing terminology drift. Mayer on Mayer is a better, more enticing, combination in its well-rounded package. There’s also another unknown character with the sexless scene sex slave trader who purchases the girls at a staggeringly deal at $1000/each. In the 1970s, inflation was at an all-time low.

If you’re the average wanker looking to get off by any means possible, even on old JCPenney lingerie circulars, “White Slaver” will do the job. If you’re like me, someone who needs a little more substance and depth in their viewing pleasure coinciding with their kinky pleasure, “White Slaver” is a sinking blow to the stern with little diversity and a shell of a premise. All the skin-on-skin action happens inside the small yacht’s tight quarters that houses two segregated rooms, containing two beds, and a couch in one of them and all being used for carnal embarking. This makes for crammed cinematography to limit shots to only a few positions and severe closeups of the of the hairiest and dimple-laden hind parts and though those scenes are inherently a part of porn’s shooting culture, as they are indeed the money shots, not every damn scene has to be the width and height of my television. At least believe in the illicit sex trafficking premise, despite the morally insensitive nature of trading people for purpose of sex-lining one’s pockets. The hapless girls of “White Slaver” initially vocally counter their abductors with verbal threats and pleas for an unharmed release, but when the clothes come off and boat starts to rock, the two female sex slavery victims are all about it. When everyone’s sexed out, the girls go right back to playing pawns. While watching this wishy-washiness transpire, the lost appetite of a struggle against a mean brute before he has his way with her kills the enticing narrative that now lacks crucial roles for its very own, stay afloat, survival.

Amongst a sea of countless pornographic celluloids, “White Slaver” is definitely an interesting commodity of low-end rarity unearthed in modern times than it ever was inaugurally for the pleasures of jacks looking to unload in the middle of a theater. The provocative Synapse label off-shoot, Impulse Pictures, releases “White Slaver” onto a region free DVD home video, presented in the original 1.33:1 aspect ratio of its 35mm film. Though I’m sure Impulse Pictures presentation is the best we’ll ever see of “White Slaver,” the transfer suffered moderate trauma of wear and tear with evident film lacerations, blemishes, dirt, scratches, and even some light infiltration during processing. Also, an indication of the process mishandling is the exposure of the perforations. The sprocket holes of the 35mm stock swerve in and out of the picture due to either the introduction of light during the process or a sever misaligning of the stock in the camera reel but, either way, it’s annoying to see a rounded-rectangle box enter the frame at varied points. Not much to gain here with a flat color palette with lower deck love surrounded by nothing but awfully antiquated wood paneling and cupboards. The English language Dolby Digital single channel whispers the limp and zestless dialogue not because of the mono layer but because the amount of camera roll and static interference by shoddy recording equipment dampens the entire vocal spectrum. Special features include feature chapters and 42nd Street Forever: The Peep Show Collection with the flipping of projection audible only reels of similar, rare, era-related porn, included peep shows are “Vogue,” “Good Help Isn’t Hard to Find,” and “Liquid Plumber.” Obscurity and obscenity can’t always be a substitute for quality, but Impulse Pictures remains a steadfast platform for the little guy, even if that little guy is a forgotten morsel of American sleaze, with their newest rediscovered relic, “White Slaver.”

“White Slaver” on DVD courtesy of Impulse Pictures

No Sam Raimi. No Bruce Campbell. Just the EVIL! “Evil Dead Trap” reviewed (Unearthed Films / Blu-ray)



Nami, a Japanese late night show host, is seeing her ratings dipping.  Though not in danger of losing her all-female produced show, Nami decides take her team on an investigation of a mysterious snuff tape that was mailed to her specifically.  Left for her is a bread crumb trail of directions to an abandoned military base, Nami and her crew explore the campus’s rundown structure, searching for evidence, a body, a story that they can televise.  Ignoring the dangerous presence around them, they dig deeper into the dilapidating labyrinth where they horrifying discover something waiting for them laid out in a cruel plan of deadly traps with a maniac pulling at all the strings. 

Bred out of a pedigree of pinkusploitations and a nation’s crisis of identity after the Second Great War, “Evil Dead Trap” is a greatly symbolized Japanese machination tale helmed by pink film director Toshiharu Ikeda (“Sex Hunter,” “Angel Guts:  Red Porno”) and penned by an equally historical pink film screenwriter and “Angel Guts” manga series creator Takashi Ishii (“Girl and the Wooden Horse Torture,” “Angel Guts” series).  Also known under its original Japanese title, “Shiryô no wana,” as well as, and my personal favorite, “Tokyo Snuff,” in Spain, “Evil Dead Trap’s” smorgasbord of rape, torture, and gory death naturally shocked viewers upon release and continues to do so as one of J-Horror’s branched out films that segued out from the brutal and depraved pink film inspired context into the new longstanding ghost genre we’ve seen over the last few decades with “Ringu” (“The Ring”) or “Ju-on” (“The Grudge”).  The production company Joy Pack Films, behind the 1980’s obscure Japan films, such as Genji Nakamura’s “Go For Broke” and Banmel Takahashi’s “Wolf,” houses the “Evil Dead Trap” from executive producer Tadao Masumizu.

If you recognize a couple cast members, or maybe just their naked bodies, then there’s something depraved about you!  With all kidding aside, but no seriously, if Rei (Hitomi Kobayashi) or Kondo (Masahiko Abe) look familiar, then you my friend are pink film aficionados as Kobayashi has starred in “Hard Petting” and “Young Girl Story” and Abe was in these pink film hits the “Pink Curtain” trilogy and “Female College Dorm Vs Nursing School Dormitory.”  If these faces didn’t touch you in any kind of sensual way, no worries, leading lady Miyuki Ono brings the star power.  The “Black Rain’s” Ono plays Nami, a go-getter television host/personality with her sights set on ramping up her late night show’s ratings, but also sucked into the posted snuff film’s darkest allure that’s personally calling her into to a precarious story lead.   Nami could also be a homage to one of screenwriter Takashi Ishii’s manga-inspired pink films entitled “Angel Guts: Nami” and the title might not be the only aspect paid honor to with that particular Nami written with a journalistic vocation drawn into and obsessed with a serial rapist’s attacks, making a striking parallel between the two stories that are nearly a decade apart. Eriko Nakagawa and Aya Katsurgagi fill out Nami’s investigating team as Rei and Mako. As a whole, the characters lack personality; Rei and Kondo tickle with relationship woes that are snuffed out before fruition, Rie’s timid innocence barely peaks through, and Nami and Mako’s thicker bond compared to the rest of the team is squashed to smithereens way before being suckled into note worthy tragedy. This late night show team has been reduced to slasher fodder and, honestly, I’m okay with that as we’re only here for the deadly traps. Noboru Mitani, Shinsuke Shimada, and Yûji Honma, as the mystery man looking for his brother, complete “Evil Dead Traps” casting.

“Evil Dead Trap” boasts a melting pot of inspirations, a mishmash of genres, and spins a nation’s split identity variation crowned in aberration. Diversely colorful neon-hazy lighting complimented by a Goblin-esque synth-rock soundtrack from Tomohiko Kira (“Shadow of the Wraith”), Toshiharu Ikeda shadows early Dario Argento inside and outside the popularity of the Italian giallo genre as the “Evil Dead Trap” murder-mystery horrors resemble more of a westernized slasher with a killer concealed behind a mask stalking a fringed, neglected compound in a conspicuous outfit. While the killer dons no hockey mask or snug in a mechanic’s jumpsuit, an equally domicile, yet more calculated, antagonist taunts more brains than brawns, especially with the severity of traps that seemingly float from out of nowhere. The fun is chiefly in the imagination of how the trap designs operate in the void of physics of a slasher fodder film so wipe clean the Jigsaw and the “Saw” films from your mind completely and relax to enjoy the outlandish kill scenes. Some of the kills are imperialistically inspired by Imperial Japan, that is, to blend the wartime nation’s atrocities with how the proud country wants to distance itself from that old-fashion, war-criminal, stoically perverse superstratum layer, but that’s were “Evil Dead Trap” pulls for most of the juicy parts as well as supplementing with Argento lighting, some, believe it or not, “Evil Dead” elements of that menacing presence bulldozing through the spiritual world, and an divergent climatic finale stuck to the narrative body that’s akin to pulling off the head of a doll and replacing it with T-Rex head’s. The uniformity quells under the pressure of how to end Nami’s and her attacker’s coda with pageantry weirdness that’s typical status quo Japanese cinema. Lots of symbolism, little modest explanation.

Get caught in “Evil Dead Trap” now back in print and on Blu-ray courtesy of Unearthed Films, distributed by MVD Visual, as part of the extreme label’s Unearthed Classics spine #5. The Blu-ray is presented in a matted 1.66:1 aspect ratio, a format rarely used in the States but widely used in other countries. Reverting to the 1.66:1 from Synapse’s 1.85:1 crop, Unearthed Films showcases more of the European feel, heightening that colorful vibrancy of the Argento-like schemes. Image quality has peaked on this transfer with natural grain with the 35mm stock, but details are not granularly sharp in an innate flaw of the time’s equipment and lighting. Shinichi Wakasa’s unobscured practical effects heed to the details and don’t necessary suffer the wrath of miniscule soft picture qualities when you’re impaling someone or birthing a slimy evil twin…you’ll see. Add in Ikeda’s wide range of shooting techniques, you’d think you’re watching Hitchcock or Raimi and the focus really lands there with the differently camera movements and techniques. The Japanese language single channel PCM audio fastens against that robust, vigorous quality to make “Evil Dead Trap’s” diverse range and depth that much more audibly striking, but there’s a good amount of silver lining in there being no damage albeit discernable, but not intrusive static to the audio files, dialogue is unobstructed and prominent, and the stellar synth-rock soundtrack nostalgically takes you back to when you first watched “Suspiria” or “Dawn of the Dead.” English subtitles are available but display with a few second delay which can be cumbersome if trying to keep up. Special features includes three commentaries that include director Toshiharu Ikeda and special effects supervisor Shinichi Wakasa, filmmaker Kurando Mitsutake (“Gun Woman”), and James Mudge of easternKicks. Plus, a Trappings of the Dead: Reflecting on the Japanese Cult Classic retrospect analysis from a Japanese film expert, Storyboards, Behind the scenes stills, promotional artwork, trailers, and a cardboard slipcover with phenomenal artwork. Highly recommend this atypical Japanese slasher, “Evil Dead Trap,” now on Blu-ray home video!

Own “Evil Dead Trap” on Blu-ray!

Evil Gets Snuffed and Blued. Blu-ray That is! “Effects” review!


Special effects technician Dom joins a small cast on the scenic outskirts of Pittsburgh to work on a horror film with wealthy director Lacey Bickel at the helm. Filmmaker Bickel’s indifferent passion about obtaining the perfect shot for his movie puts Bickel at odds with the other cast and crew, rendering Lacey just another irregular and peculiar director attempting to show the general public his ultimate vision, but during one particularly odd behavioral moment, Dom was subjected to the exhibition of a presumably snuff film possibly directed by Bicket during a coke-filled round table discussion. Dom begins to suspect that the movie he’s laboring over isn’t the sole objective of Bickel’s, but stays quiet about his instincts and he forms a romantic relationship with Celeste, a gaffer whose worked with Bickel prior to, and the two resume their work on the film despite the being the oblivious subjects of a real snuff film.

In 1978, the Godfather of the modern zombie film, the late great George Romero, had an inner circle of friends conjure up their own funding for an idealistic, ahead of it’s time horror film entitled “Effects” with then newcomers and Pittsburgh natives Dusty Nelson at the helm, John Harrison producing and starring as the offbeat Lacey Bickel, and post-“Effects” “Day of the Dead” and “The Dark Half” editor, Pasquale Buba, as the other producer. Filming had wrapped with tons of positive public review potential to be the next big horror film of it’s time being produced out of Pittsburgh, but a major distribution complication had put the kibosh on any theatrical and home release run, leaving “Effects” to be shelved for nearly thirty years until 2007 when Synapse released the film on DVD. The snag resonates soundly with the group of filmmakers who are probably more than acquainted with their friend and colleague George Romero’s “Night of the Living” and the copyright problem. However, the American Genre Film Archive, or AGFA, began a kickstarter funding campaign to buy a 4K scanner to remaster cult and underground titles to Blu-ray and “Effects” became one of the first selected!

“Day of the Dead” star Joe Pilato stars as special effects technician Dom and Dom is a far cry from being his future role of the sadistic and stir crazy Captain Rhodes. Pilato brings a lot of peace and tranquility to his mild mannered, if not very gullible, character. Along side Pilato is another fellow “Dead” series star, Tom Savini, as portraying not his trade of a special effects tech, but as a producer of sorts in the film. Off camera, Savini handles the gruesome special effects with a straight blade and gunshot sequences. In character, Savini doesn’t stray too far from his character on “Dawn of the Dead,” donning the black leather jacket and sporting a cocky-jerk attitude. Producer John Harrison also has a role as the callus director Lacey Bickel who bosses around his two surface actors “Life of Brian” actor Bernard Mckenna and a “Dead” series dead head zombie in two of Romero’s films, a Mrs. Debra Gordon. McKenna delivers question mark after question mark of a performance that Matthew Lillard, perhaps, imitates the best in Wes Craven’s “Scream” whereas Gordon just provides a straightforward background performance with her scene with Lacey conversing over the idea of stress releasing sex being one of the more intense moments of the movie. Susan Chapek, Charles Hoyes, and Blay Bahnsen complete the cast.

Despite the modest budget, Nelson and his team construct monumental frightening moments. When Dom, Lacey, Lobo, and Barney converse around a mirror laced with coke, Lacey wants to show Dom a film after their sharing their opinions on what the general public will or will not pay to see. The actors’ faces and reactions as the snuff film rolls is on the brink of teeth clenching madness. The catalytic moment bombards questions internally into the group of presumably professional people and starts the separation between whose really in control of their fates. “Effects” is a movie within a movie and a deception within a deception where the characters have more than one role and pinpointing their specific purpose is difficult to land that Nelson’s film will have your head spinning with guesses. A fierce and boldly ambitious film from a scrappy Pittsburgh crew of talented filmmakers taking a risk with an intricate plotted thriller.

AGFA and MVDVisual present Dusty Nelson’s “Effects” for the first time on a region free Blu-ray. The 1980 thriller has been scanned and restored in 4K from the only existent copy of the 35mm negatives and delivered the original aspect ratio, an anamorphic widescreen 1.85:1. The image quality is better, but only slight above the Synapse DVD that sourced from 16mm negative and still maintains a healthy dose of noised induced and film grain and print damage. The color palette has a dullish grey-brown combination fairly noticeable to the naked eye. The English DTS-HD dual channel audio has hints of a hiss and faint crackle in more scene intense segments, but relatively clean and clear inside a limited range. Extras included are an updated version of Synapse’s retrospective documentary entitled “After Effects” that brings a stingy melancholy when seeing George Romero converse with his friends. There are also two short films by John Harrison, an archival commentary track, and liner notes by AGFA’s Joseph Ziemba. Plus, the AGFA Blu-ray has a snazzy illustrated cover, with reverse cover art, encasement. “Effects” glorifies snuff film with ample attention to detail and precision that only this Pittsburgh all-star team of filmmakers could produce on a limited budget and AGFA, alongside MVDVisual, amplify their efforts by a hundredfold with a remastered transfer withstanding straight razor home movies, a bombastic car explosion, and cloak and dagger guerilla filmmaking that’ll have you second guessing if the effects are only movie magic or not?

“Effects” on Blu-ray by AGFA and MVDVisual!

Evil Gets Sleazy! Sexcula review!

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Alright! Vintage horror porn! Well, maybe not vintage, but definitely retro porn! Director John Holbrook directs his own horror spoof Sexcula in 1974 nearly 40 years prior to the more recent spoof entitled This Ain’t Dracula XXX. Neither flick will scare your pants off, but somehow your pants will still come off especially with Debbie Collin’s as the sleazy Countess Sexcula!

This campy sexcapade blends horror with hardcore, bushy pornography that includes a the horny Countess Sexcula, a buxom blonde that can’t wait to sink her teeth into the next willing male, and her cousin Dr. Fallatingstein, a saucy brunette who builds a pleasure mate with a serious flaccid problem. Sexcula is brought in to help her cousin in trying to “lift” her mate’s spirits with various seductive pleasures and other depraved methods.

Striptease Gorilla!

Striptease Gorilla!

Honestly, I’ve never heard of Sexcula so when I popped the Synapse and Impulse Picture’s disc into the player, I was pleasantly shocked that Sexcula turned out to be a full-fledged pornographic movie; once I saw the tip of the penis being swirled around the lips of Debbie Collins I knew I was in for a treat! Collin’s doesn’t just get naked, she gets naked plus performing scene after scene and perform the nasty after the nasty while a loose plot is woven in throughout…somewhere….you just have to kind of look past the sex to see the plot.

Sexcula becomes a bit kinky too. In order to get Dr. Fallatingstein’s man in working order, Sexcula conducts a striptease with a Gorilla involved! A sex-bot lies motionless on a table ready and willing to receive any throbbing member even from Orgie (prnounced Or-g) the lonely hunchback Quasimodo-type character. Also, and I think this is the most perverse part of the movie, the stick-it-to-the-institution-of-marriage porn scene where a couple can’t wait to say “I do” before a foursome madness ensues. The scene also brings a new meaning to “wife-swapping” as the bride takes on not only the groom, but the best man and the priest too!

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If the plot was given more thought and a better writing to it’s campiness, Sexcula would have been a stellar hit in porno world. I’d would have liked to have seen more horror a long with the sex, but with any porn spoof like This Ain’t Dracula XXX or Evil Head you have to unbalance the plot with more humor than horror or else the feel of the film more turn more into a snuff film. With the lushness of 1970s horror with the UK Hammer horror films and the United States’ exploitative films, the Canadians could not capitalize or even utilize the horror elements and instead focused more on peace and leave – the way the 70’s are stereotypically viewed.

I’m also disappointed that Jamie Orlando, Dr. Fallatingstein, didn’t grace us with her body. But I shouldn’t be bashing Sexcula; I shouldn’t be expecting more than what meets the eye; I should take things at face value. What should I expect from a movie named Sexcula? Just a ravaging romp of lots of hot un-condomized sex ready to spread all the love and diseases one could handle! Bring on the Sexcula and I must have SEX on the mind because I just reviewed another sex-titled filmed Sexsquatch which you can read my review of the film here.

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