Let’s Ride the Ol’EVIL Succubus to Chastity High School in “Sadistic Eroticism” reviewed! “Wild Eye Releasing / DVD)


At California’s Chastity High School, a strict and sadistic far-right facility body abuse and favor a select assembly of pupils, isolating the semi resembling studious teenagers, who wear black trench coats, innocently worship indie horror flicks, and the idea of women, to the whims to not only a rapist principal and a Nazi fascist assistant principal, but also suffer prolonged torment from the school’s popular kids. When one of the regular teachers slips, falls, and dies on a pool of ejaculate, a voluptuous and alluring substitute teacher, Ms. Lizz, fills in, hoping to become a permeant teacher at Chastity High, but Ms. Lizz has a three hundred year old secret being a vampiric succubus who lures in and possesses the popular, sex-crazed, hormone driven high school jocks who will do her bidding in abducting the beautiful high school sluts and for Ms. Lizz to drink their blood to retain immaculate beauty. Its up to three Troma loving and heroine doping geeks and an odd janitor to stop Ms. Lizz before she laps up slut blood and moves on to the next school.

Like a barrel full of doured high school rape jokes bubbling in a stasis of formaldehyde, the farcical cringe-worthy comedy-horror, “Sadistic Eroticism,” is the brain damaged brainchild from writer-director, Alex Powers, as his debut feature film shot entirely on VHS cassette that pays homage to the SOV horror of the early 1980’s, such as “Boarding House” or “Sledgehammer.” Powers, who went on to helm “GrossHouse” and its sequel, congeals on a slapstick of analogue digressions to introduce himself as an auteur filmmaker who, unrestrained, can exceed beyond the distinct hardline of political suitably that’s not only a testament toward the very title of the film, but also, perhaps, securing Powers on a number of studio blacklists unwilling to touch him with a single junk-destined email originating from the other ends of the Earth. Starchild Video serves as production company, which if entering “Starchild” and “Sadistic Eroticism” in the same search engine field, you’ll get a nice little stern warning about your search results involving child sex abuse and any images depicting such should be notified. Yikes.

More promising than the infamous history of the Hungarian noble woman, Elizbeth Bathory, to which “Sadistic Eroticism” properly appropriates it’s title and abstract character from, is the colorful, if not disdainfully charged, personalities teeming with a variety of depraved intentions and the entire cast embraces the full blown degenerate toxicity. More than likely, most of the cast list is made up of not household names like JD Fairman, James Coker, Nicholas Adam Clark and T.J. Akins as a black Nazi fascist hard up on Christian values and stern punishment. On the flipside of that coin, genre fans can root through the blurry, sometimes overexposed, tape recordings and find familiar faces of the then scruffy looking filmmaker James Cullen Bressack, writer-director of the popular indie found footage thriller “To Jennifer” and producer to the subsequent franchise films, “2 Jennifer,” “From Jennifer,” and “For Jennifer,” suited up in a shirt-sized Confederate flag as one of four high school bullies to fall under Ms. Lizz’s spell. The prolifically half-naked all the time indie actor, Michael Q. Schmidt (“The Pricks from Pluto Vs. The Vaginas from Venus”), straps on BDSM gear for a little sodomy counseling as Principal Buggary, “2001 Maniacs” Field of Screams” Miles Dougal slaps on a wife beater for some sleazy slumber party slime ball in a high school girl’s father role, and, of course, the lovely pornographic actress who branch out and take a break from oral sex, group sex, three-way kissing, and – oh wait – they do and simulate that in this Powers’ as well. Tori Avano, Imani Rose, and Jayden Starr are the three high school sluts who shameless flaunt their assets for Sophie Dee to snatch up and soul suck her way for anomalous aesthetics as a satanic form of cosmetic surgery. The latter actress, Sophie Dee, is endowed, more ways than one, with the role of the vampire-succubus Bathory, keeping well….well abreast her monotonic acting talents with her adult industry persona. All four ladies show an abundance of above waist skin and engage in some solo girl, boy-girl, boy-boy-girl, girl-girl-girl, boy-boy-boy-girl… and now I must sit down a rest my brain. Dou Waugh, Sto Strouss, Paymon Seyedi, Candis Higgins, Mel Martinez, Aaron Granillo, Matt Johnson, Ian Fisher, Jody Barton, and Yajaira Bardales round out the cast.

Jokes and slapstick humor disassociated, “Sadistic Eroticism” still relates to the Elizabeth Bathory backstory told on VHS through a tube television presentation of Ms. Lizz’s abnormal history subjects. The succubus creature is nothing less than a buxom beaut that undresses with her feminine wiles zombifying men to do her bidding without her lifting a finger to break a nail against the hypersexualized school girls; yet, to show this century’s old cacodemon as provocatively dressed and to skim around bellying up the tension isn’t quite enough to sell the dominance an ancient evil should be wielding like she owns the whole damn school. There’s more of visceral presence of evil between Principal Buggary and Assistant Principal Defur and though they’re also vaguely under the influence of the succubus, their combined power is the epitome of “Sadistic Eroticism.” The script, characters, and subject material are indicative of Alex Powers attempting to reel in Lloyd Kaufman and his Troma slum-empire to purchase and distribute the filmmaker’s squawking lechery of a film and yet, perhaps, the Troma acquisition team also saw too much of a yawn-fest to bare the Troma brand as the nearly two hour runtime sluggishly relies too hard on being incoherently schlocky to be coalescing competent to make sense. “Sadistic Eroticism” is more masochistic in it’s ostentatiousness to desensitize power and rape and call it comedy, but rocks a mean cast of players from all walks of life to be a mean-spirited take of The Blood Countess.

Open your lesson books and get ready to be schooled by the twisted and obscene in Wild Eye Releasing’s re-release of “Sadistic Eroticism” on the label’s Raw and Extreme banner, distributed by MVDVisual. The region free, unrated release is presented in a SOV full frame of 4:3 aspect ratio. Tracking is the least of the problems with this uncouth image presentation rendered from pillar to post quality of warm tinges, severe color corrections required, and gauche details emblematic of cassettes, but all that was Alex Powers intended design to relive in the era of SOV. However, there are some less than stellar, even for SOV, that negate the effort, such as high contrast and poor lighting nearly blanking out darker scenes and the entire climatic end has a neon purple border and the scenes are also recorded in an awful tint of purple, making the entire finale be seen through Grimace vision. To top it off, the jagged opening titles, credits, and crooked visual composites are nearly discernible. The English language mono track is touch and go, mostly go as dialogue wanders into a deaden muffle and is also drowned out by a stock score tracks. There’s not much range or depth as much of the audio is picked up by the poor quality of the VHS handheld mics as exhibited on the special features, which include a director’s commentary and a behind the scenes hosted by that James Coker, who does a pretty good engaging the actors for the in-the-face interviews to explain their characters, scenes, and just overall thoughts with porn starlets and actors milling about or in takes. Sophie Dee’s bosomy eye-catchers, Tori Avano’s star-shaped nipples, Imani Rose’s vivacious sexual appetite and a stockpile of lewd, crude, and nude wets the very foundational whistle of “Sadistic Eroticism” bungled in a sloppy heap of first time filmmaking.

Order “Sadistic Eroticism” on DVD at Amazon!

EVIL’s a Little Furball Wielding a Submachine Gun in “Killer Raccoons! 2! reviewed! (Digital Screener / Indican Pictures)


Ten years after the campsite mayhem of a raccoon attack that supposedly killed everyone and incarcerated Ty Smallwood for a decade in the wake of a governmental coverup, Ty, who now goes by the name Casey, is released from Prison located in Independence, Colorado and meets up with his pen pal Darlene, the younger sister of Ty’s girlfriend who was murdered by the killer raccoons. The two board a train on Christmas Eve heading toward Washington D.C. where Casey will attempt to explain to Darlene just how his sister died, but the thought dead former camp counselors, conscripted by the sinister Ranger Rick Danger, team up with elite mercenary raccoons to hijack the train to usurp a military weaponized satellite manned by a trained raccoon astronaut to inflate their offshore bank accounts. With the assistance of a train porter, Casey must recall his raccoon stopping abilities in a convergence that reunites enemies and friends back together in once again a diabolical raccoon assault.

The not-so highly, yet enthusiastically wish granted anticipated sequel you never knew you wanted to “Coons: Night of the Bandits of the Night” is here! “Killer Raccoons! 2!” dusts off the taxidermized black masked and ringed tailed trash can diggers for another round of loco-motional chaos, written and directed by Travis Irvine. Though the two stories span only ten years apart, the precursor film and its predecessor are released 15 years apart with “Coons” being released in 2005, hitting under the radar of retail shelves by the indie distributor, Troma Entertainment. Irvine’s follow up film, which is also known by “Killer Raccoons 2: Dark Christmas in the Dark,” is a hot take spoof on one particular insane Steven Seagal action film from the mid-90’s, when the 7th-dan black belt in Aikido Steven Seagal still had his slim build and audiences still took him seriously, also while giving minor homage to iconic action films over the decades. Irvine’s Ohio based production company, Overbites Pictures, finances an over-the-top critter action clash with ample dick jokes and a crude sense of admiration.

On any given sequel, returning actors would step back into their character shoes, donning, once again, the persona woven specifically for that role to reignite the same soul for a new plot, but with a few titled “Killer Raccoons! 2!” the customary guidelines and conventional means of filmmaking become shot out of the sky by a giant dick shaped laser orbiting in space. Thus, comedic actor-writer Yang Miller replaces Lehr Beidelschies as Ty Smallwood, James Myers replaces Nic Maier as the camp counselor turned eunuch and number one bad guy, and Mitch Rose replaces Brian Kamerer, being the best Eric Bogosian impersonator that can be. I bet now you can guess with Seagal flick Irvine spoofs! Yet, some of the original cast returns, such as Zach Riedemaier, Kasey Cooper, Colin Scianamblo, and Tom Lyons, bracing themselves for another interspecies skirmish. The new and old cast offer a seamless one-two punch of thirst quenching pasquinade, but in all fairness, I never saw “Coons: Night of the Bandits of the Night” and don’t really have a point of reference, but the confluence of confidence surrounding these outlandish performances doesn’t perpetrate a sense of disconnect. New roles played by new blood also courses through the sequel’s jiggly veins and what better way to fight raccoons than with a hedgehog; legendary porn star Ron Jeremy harnesses the dim-wit power of Lord Helmet from Space Balls, becoming military brass with a gaudy general’s cap and an aloof sense of what’s going on. The sequel rounds out with Briscott Stevenson, Michelle Weiser, James Adomian as a version of the presidential hopeful Bernie Sanders, and comedian actor Ron Lynch as General Negligence.

By now, if you haven’t guessed, “Killer Raccoons! 2!” is a rumpus-raccoon mockery of Steven Seagal’s all aboard follow-up of anti-terrorist tactics in “Under Siege 2: Dark Territory.” At first, Irvine sets up Ty Smallwood’s eventual release from prison and coming to know his pen pal, Darlene, while also running into a few other character to which one conversation leads into how prison turns you into a completely different person, a poke in humor at itself for having not the same actor play the lead. The initial backstory ran through the typical “Airplane!” farce with a few more dick jokes, such as the satellite being christened PEN15. Get it? Once the train chugs along and the introduction dust settles, Irvine nearly does a scene for scene with the Seagal sequel, capturing almost identical shots within a familiar storyline. This hilarious reenactment flatters the only way a low budget knows how with poor composite effects that add to the hilarity and Mitch Rose really nailing Eric Bogosian; I can’t stress that enough. There are some performances that are too over over-the-top, stepping more toward terribly mindless and silly of unintentional inimical aftertastes. “Killer Raccoons! 2!” doesn’t take itself seriously and we shouldn’t take it seriously either in this fun feed error Xerox copy of “Under Siege 2: Dark Territory” run amok by pesky raccoons!

The fury-bandito train ferociously pulls into the action-packed and explosive station come October 1st onto DVD from Indican Pictures. Already released theatrically in the mid-west and on digital platforms from this past July, “Killer Raccoons! 21” will claw and scratch a foundation before physical format that will resonate more older audiences familiar with the 1995 Seagal film, but potential viewers should trust in the diversity Indican Pictures strive for and know that “Holy Hell” was an equally profanely funny feature raising eyebrows and regurgitating laughs. Since the screener is digital, there will be no critique on the A/V and there were no bonus material available from the forthcoming DVD, but there is a short bonus scene after the end credits. The broad-based humor of “Killer Raccoons! 2!” can cause long-lasting laughter from that cull the most mediocre action film and serve it up as the base for a critter-infested gun-toting comedy-thriller!

Available to rent on Prime Video!

When Evil Wants to Probe Your Delicate Hind Parts! “Revenge of the Spacemen” review!


Hostile aliens touchdown on the farmlands of a rural Ohio community, intending to rid Earth’s current human and non-human inhabitants. The green and bulbous-headed extraterrestrials’ attack plan is simple, anally probe every lifeform and insert into their cavities an extreme intestinal gas inducing capsule. As the atmosphere fills with the strong and continuous methane gas odors, the Earth will become uninhabitable which would be easy pickings for otherworldly aliens seeking an easy target after years of plucking cows and the occasional rural-ite. While the probed stink themselves into extinction, a ragtag band of moonshine drinking college kids, local law enforcement, and the Johnson family, the moonshine distillers whose farm is being invaded, arm themselves with bullets and beer against the aggressive anal attacking spacemen!

As if to the long for the days of yore, back when humanoid aliens, cladded in tinfoil space suits topped with bulging eyes jetting from big, green heads, landed onto Earth’s soil in the traditionally believed tripod-legged oval of a UFO saucer and armed with hi-tech laser weaponry to formally engaging in a planetary invasion, “Revenge of the Spacemen” dapples in mock-nostalgia and mocks the rudimentary narrative with crude humor of the independent film kind. First time feature film director Jay Summers helms the outlandish Sci-Fi comedy, penned by Conor Duffy as the writer’s first credit, that excruciatingly relies heavily on butt humor and beer banter. Obviously fitting for the forgivable friend to the indie filmmaker, Troma Films, “Revenge of the Spacemen’s” degree of plot and technical quality shouldn’t be a surprise to any viewer familiar with Lloyd Kaufman’s lavishly loony label who takes shameless pride in disrupting conventional filmmaking and creativity. That’s why we adore Troma and Lloyd Kaufman! However, the Jay Summers’ 2014 space invader romp is hard to love and will be found guilty of heresy by celestial geeks and their alien affectionate fandom.

Amongst the college kids, a sense of level headed character dispositions exist and, as a whole, are perhaps the better part of the written characters. George, whose motivation is to investigate the flying saucer that he only saw, is teamed up with a quasi-blind date and roots out the aliens to the core of their dastardly plan, becoming the thin bearing-like hero “Revenge of the Spacemen” couldn’t quite establish. Played by an actor actually named George in George Tutie (“The Brave Souls Who Fought Against the Slave Vampire Women”), Tutie plays the part well with little-to-no extra hamming. His friends Ozzy, Liz (“The Murders of Brandywine Theater’s” Kayla McDonald), Jan (“Easter Casket’s” Janet Jay), and Eddie (“Raw Focus’” Benny Benzino) follow more than embody their own will on the story, but compliment the hero in George to rise and shine, such as a Ozzy being a loyal buddy and Liz being the romance that George was missing in his casual life. On the opposite side of the spectrum and the more radical faction are the Johnson family, led by the matriarch, the rootin’-tootin’ ready for shootin’ and boozin’ Mrs. Johnson, while the Husband away. “Dying 2 Meet U’s” Janine Sarnowski’s no foolishness approach to Mrs. Johnson is hard nose kicked into overdrive with the shifter broken off. Her back and forth spouts with Sgt. Taggart are nicely confident and verbose, a quality needed in a mean old hag! The cast rounds out with Fred Munkachy, Bogusia Chmielewski, Logan Fry (“Clowsploitation”), Brianna Harding, Andrew Santa, Richard Raphael (“Return of the Dead”), Kathie Dice, AJ Nold (“The Demon’s Odyssey”), and Danny Bass as Catfish Bob who I thought was the funniest character out of the bunch.

Aside from the cut out flying saucer spinning through two-dimensional space, hitting and passing the moon, heading toward a blurry Earth in the background, and the composition against a live-action woodsy background, “Revenge of the Spacemen” is zero budget when on the subject of special effects. The green aliens, with bulging heads and bugged out eyes, are not trying to hide anything underneath the latex mask that flashes it’s edges from overtop the silvery foil space suit. The anal probes remind me of Ringling Bros. light up souvenirs and the green skin body paint comes in 50 shades of not grey, but does glow at times and can sprout boils on the face.

The Troma Team entertains the “Jay Summers'” “Revenge of the Spacemen” onto Blu-ray home video in a widescreen, 16:9 aspect ratio, and even though I know very well that this is a Troma Team Video release, the image quality is upsettingly blurry with aliasing and doesn’t colorfully pop, especially when you’re trying turn people green and saucers fly around hillbilly central. Sharpness never comes through the entire 1 hour and 15 minute runtime. The dual channel audio track requires much more filtering to clean up crackling and ambience around one of the more important aspects of any film, the dialogue, and the severe feedback during more shrill moments doesn’t go unnoticed. Bonus features include a classical harebrained Lloyd Kaufman introduction, deleted scenes, and the original trailer. The Blu-ray also comes with some well illustrated cover art that recollects the past and is visually stimulating for the film inside the casing. “Revenge of the Spacemen” is supposed to be a monstrous, alien invasion, and campy homage to the 1950’s science fiction classics, but the aliens versus hillbillies melee is more attuned to a low-rent, laclluster production of “Mars Attacks!”

Evil Isn’t Home. “Death House” review!


Top law enforcement agents, Boon and Novak, achieve special access through steep sacrifice during job assignments and are permitted to tour their upcoming placement in the highly exclusive Death House, the ultimate maximum and multi-level penitentiary home to the nastiest criminals known to society and the deadly threat to mankind in a metaphysical way. Death Houses uses virtual reality to keep inmates stimulated to the point of calm submission as well as drugging the homeless and the unwanted to supply killers with victims upon victims in an their personalized virtual surroundings, but when an outsider uses an EMP to knock out all power within the facility, the cages are open and the ruthless animals are free to overrun, beating to death the guards and staff. Boon and Novak must fight their way to the bottom level that hold the Five Evils, criminals with grotesque supernatural abilities and a wickedly grisly past, where the two agents believe the Evils are their best hope for survial against a Five Evils acolyte named Sieg and his faithful jailhouse followers.

Considered as “The Expandables” of horror, “Death House” had gained almost instant fandom solely from the long-list of horror icons in the cast. Director B. Harrison Smith (“Camp Dread”) re-writes most of Gunnar Hansen’s original “Death House” story produced by Cleopatra Entertainment and Entertainment Factory. Cleopatra Entertainment is more notably a music label that has delved into films the last few years and, in my opinion, haven’t faired positively in the horror genre, but “The Texas Chainsaw Massacre” star fought tooth and nail to try and get his script off the ground, even in the face of death. “Death House” saw release after Hansen’s death, but from interviews with the filmmakers, Smith had almost totally revamped the original treatment, leaving The Evil’s at Hansen’s request if his script was to be entirely cleaned. Shot right in this reviewer’s backyard of Philadelphia, Pennsylvania at the historic Eastern State Penitentiary, the defunct prison is an ideal location as the “Death House” due in part to John Haviland’s separate cell design and gritty appeal that was once of the home of Al Capone, but more of the focus is on the interior than exterior with green scenes and Los Angeles shots constructing the story-lined scenes.

Like aforementioned, “Death House” has been called the “The Expendables” of horror. An immense, if not soaked, cast of horror fan favorites are peppered about around the main characters of Agent Boon and Novak. “Sushi Girl” and “Zombeavers” star Courtney Palm embodies the Agent Boon character with G-man toughness, but finds difficulty leaving that b-horror mentality with shakiness in working climatic scenes. Palm’s also roped into doing an extremely gratuitous shower scene with Cody Longo (“Piranha 3D”) as Agent Novak. Novak’s a hotshot and Longo has the looks and the talent to out perform his character, but Smith’s script doesn’t do justice to either Boon or Novak’s character that blatantly underwhelms their performances with cameo star power and a shoddy narrative. Dee Wallace (“Cujo”), Barbara Crampton {“Re-Animator”), and Kane Hodder (“Jason Goes to Hell”) have prominent roles that are pertinent to the story and are enjoyable to see them in more of a supporting capacity. Andrenne Barbeau {“The Fog”), Sid Haig (“The Devil’s Rejects”), Vernon Wells (“The Road Warrior”), Bill Moseley {“The Devil’s Rejects”), Lloyd Kaufman (Mr. Troma), Michael Berryman (“The Hills Have Eyes”), Tony Todd (“Candyman”), Sean Whalen (“The People Under the Stairs”), Debbie Rochon (“Killer Rack”), Bill Oberst Jr. (“Deadly Revisions”), Felissa Rosa (“Sleepaway Camp”), Danny Trejo (“Machete”), Tiffany Shepis (“Abominable”), Brinke Stevens (“The Slumber Party Massacre”), Camille Keaton (“I Spit On Your Grave”), Gunnar Hansen (“The Texas Chainsaw Massacre), and R.A. Mihailoff (“Leatherface: Texas Chainsaw Massacre”). Whew. Rounding out the remaining cast is Lindsay Harley (“Nightmare Nurse”), Vincent M. Ward (“The Walking Dead”), and Bernhard Forcher.

While the genre star-studded ensemble cast is a wet dream for horror fans, “Death House” fails in numerous filmmaking categories with the first being the most important, the script. Smith’s re-work of Hansen’s original story requires another drastic once-over, or two, as the final result attempts to push, stuff, and cram 100 lbs of multi-subgenre elements into a 10 lb, inflexible bag, cramping the ambitious project with dis-connective storyline tissue braced together with shoddy visual effects, like the two agents free-falling down a bottomless elevator shaft and able to precisely shoot their targets on each level. The overall result of “Death House” just endures an unfinished varnish and seems slapped together with pre-schooler glue and claggy spit. Singular moments surface as diamond specks amongst cubic zirconias, like the Mortal Kombat fatality-esque practical effects, but are too far and in between to muster up an enjoyable film. The Five Evils definitely and desperately needed more presence in the story instead of just flexing the talking heads muscle; well, the only two Evils to say anything at all were Bill Moseley and Vernon Wells. The Five Evils didn’t quite have that oomph to be a force to be dealt with as Gold-described beings who philosophical interpretations on the concept of good and evil.

Cleopatra Entertainment and MVDVisual present B. Harrison Smith’s long-anticipated “Death House” onto DVD home video. The unrated, all-region DVD is presented in a widescreen format that displays some frayed flaws like contrast; there’s way too much inky black in the dark scenes and little-to-no definition in more visible sequences. The compression suffers from blotchy artefacts at times too and lacks hues, which works with the gritty tone inside the Eastern State Penitentiary’s decomposing walls of rubble and decay. Visual effects are glossy with virtually no textures to give detail or, essentially, life amongst the continuous death. Bonus features include multiple interviews with director B. Harrison Smith, Courtney Palm, and more. Also included is a behind-the-scenes feather, a gallery slideshow, and theatrical trailer. Despite being true to the title and highly anticipated since it’s inception into the public market, “Death House” ultimately disappointments as an unfurnished mess enlisted with big names in the horror domain that’ll unfairly sell the film on it’s own, but all-star cameos won’t establish “Death House” as a solidified cult favorite, being unfortunately one of the biggest release flops of 2018.

Evil Lusts, Stimulates, and Impregnates! “The Black Room” review!


Paul and Jennifer Hemdale snag a great deal on their dream home withstanding an ugly past considering the previous homeowner who disappeared without a trace and a woman ending up badly burned. Despite the stigma surrounding the house, the Hemdales vow to turn their first home into a marital love nest, but every instance in which one of them is ready to break in the new home underneath the sheets, the other falls flaccid, as if something is keeping them from making love. Beneath the first floor, in the darkest part of the basement, there lies a locked black room with ritualistic pagan writing sprawled inside every wall, floor, and ceiling surface and an demonic incubus, lying in wait for the perfect opportunity to reinstate a master plan to take over the world. When Paul becomes a host for the incubus, the body count rises when repairmen, friends, and family come calling to their home and Jennifer must discover what’s causing her husband to act like a perverted jerk before she too falls into the incubus’s malevolent grip.

“The Black Room” mixes dark demon humor with perversions in a butt-cheeky horror comedy written and directed by Rolfe Kanelsky, whose credits in “Nightmare Man” and “Emmanuelle 2000: Emmanuelle’s Intimate Encounters” have sure to have aided in the director’s seamlessness in blending an erotic tone with an aggressive horror element. Kanelsky’s cavalier approach to the 2016 film, “The Black Room,” hints at the Sam Raimi approach with the unexpected and the bizarre mischief of the demon and a violin heavy folk-artsy soundtrack style with jump scare after jump scare techniques, but without going full blown with “The Three Stooges” antics as Raimi is well-known to implement. Instead, Kanelsky’s far more subtle and isn’t afraid to be verbally pun awful, even during more positionally vulnerable scenes involving actresses. Whereas most horror films uses horror as an exploitative tool or an ultimate means to be hacked to pieces, “The Black Room” transforms nudity, and sex, into a running joke much like a Troma production would gravitate to, with “Tromeo and Juliet” being a prime example, and then punch the joke into hyper drive by either being overly gory or ridiculously impractical.

In all honesty, “The Black Room” is the second Cleopatra Entertainment title reviewed at Its Bloggin’ Evil, with the first being a clunky deal-with-the-Devil thriller entitled “Devil’s Domain” by director Jared Cohn, but Cleopatra’s latest entry into the demonic hierarchy enrolls more star power to provide legitimacy in the horror realm by casting horror hall of famed actress and “Insidious” series star Lin Shaye as the snarky previous house owner with a dwelling secret and as well as “Species” series and “Ghost of Mars” actress Natasha Henstridge as the lovely Jennifer Hemdale. Shaye’s dedication to any project, big or small, places the four-decade-careered actress as a beacon of hope for the indie project and Henstridge, still oozing that blonde bombshell of sexiness image, is the proverbial cherry on top. Shaye and Henstridge bare a heavy cast presence without having to bare much skin, but there’s a fair amount of nudity to behold from actresses Augie Duke (“The Badger Game”), Jill Evyn, Alex Rinehart, cheesy horror goddess and “Killjoy” actress Victoria De Mare, and a full frontal nude debut by Milena Gorum in her first credited film. When you’re done ogling over the female roster, a tall, baritone voiced Lukas Hassel illuminates as the sleazy parasitic host of an sex-crazed incubus, embracing every tall, dark, and handsome aficionado to dream of Paul Hemdale in a variety of gore-raunchy segments while maintaining a straight face about the filth that seeps from his character’s mouth. Rounding out this cast is a “Skarkansas Women’s Prison Massacre’s” Dominique Swain as the film’s third headliner on the Blu-ray cover and intro credits, one of my personal favorite supporting actors James Duval (“Cornered!”), Caleb Scott, Robert Donovan, and with genre favorite Tiffany Shepis.

While the story’s nuts and bolts of “The Black Room” consists of demons, possession, and world domination, lots of sex, sex talk, and sexual situations litter every scene. Yes, the demon is an incubus and by very definition of the term, a demon who makes sexual advances on women while they sleep, whole-heartedly defines the amusing premise. Maybe with Kanelsky’s background in softcore erotica, sex comes second hand and writing all the associations with the act is easier for the filmmaker who installs both main characters, Paul and Jennifer, with an insatiable sex drive from beginning to the end. Even with side characters untarnished by the incubus’s powers, such as the perverted water heater repairman, become a slave to the story’s grossly sexual tension. Now, I’m not complaining, but the continuous play on sex is odd without the slither of a moral growth. After all is said and done and the characters walk away from a deadly supernatural cluster-you-know-what, neither Paul and Jennifer progress, knowing nothing more from when they first started, and plateau to a level right from the start when first purchasing the dreadful dream home.

Cleopatra Entertainment and MVDVisual present “The Black Room” on a region free Blu-ray with 1080p on a 2.39:1 aspect ratio. Coloring is everything and the range of hues in “The Black Room” vividly crisp off the screen and the filter lighting smoothly goes unnoticed when sudden changes from natural to red flare up. For most of the 91 minute runtime, a clean image plays out a levelness throughout, but film grain presents itself in last moments of said titular room and the digital effects are gaussian soft that it’s penalizing. The English Dolby Digital 5.1 mix has a compressed audio that’s not up the spec when considering Cleopatra is a major record label. The dialogue is clean and prevalent, but sorely soft at times with ranges between ambient, soundtrack, and dialogue fluxing more on the lower volume totem poll rather than being beefy and in charge. Audio is passable, being free from damage and distortion, but a little more range would do this demon dance some justice. Bonus material includes commentary with director Rolfe Kanelsky, star Natasha Henstridge, supporting actor Augie Duke, and producer Esther Goodstein, a slew of extra and extended scenes, a severely anemic behind-the-scenes short, a brief blooper reel, slide show, storyboards, and the film’s trailer. When considering between the two demonically-charged Cleopatra Entertainment productions “Devil’s Domain” and “The Black Door,” there’s no contest as the latter is technically a much better film and a lot of fun to watch and sure to be every gore and sex-hound’s wet dream with titillating special effects, especially with an invisible entity seducing a sleeping Alex Reinhart with a major titty-twister, and a dark sense of humor of unholy pleasure.

“The Black Room” on Blu-ray!