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Limited Edition EVIL to the Extreme! “August Underground” reviewed! (Unearthed Films / DVD/Blu-ray Combo)

Posted by Steven Lewis on

Limited Edition “August Underground” Ready to be Received! 

A young farm owner invites his quirky, video-taping friend into the soiled and confined basement of his home where he keeps a nude, young woman gagged and rope bound to a chair, previously been tortured, and covered in her own blood and filth.  Both feeling giddy with excitement over their new plaything, the two sociopaths revel inflicting more torment and pain on the woman while her boyfriend’s mutilated and dead corpse is being dismembered in the next room.  When their basement plaything expires after days of neglect, the two joy killers hit the New Jersey and Pennsylvania turnpikes and backroads to continue a merciless killing spree of whomever stands in their path.  Convenient store clerks, hitchhikers, prostitutes, even their tattoo artist and his twin comic book enthusiastic brother are not safe from their chockful of callous carnage and every moment is recorded via videotape for reliving the moment in posterity. 

As far as underground horror goes, Fred Vogel’s “August Underground” is about as extreme and underground as they come and still be recognizable amongst the most casual of horror fandom.  Vogel’s inaugural written-and-directed, pitilessly violent, exploitation begins a direct-to-video trilogy of torture-on-tape with SOV quality, imparting grisly shudders to the unfathomable amount of blank-labeled VHS cassettes through man’s stowage, collecting dust bunnies and remaining unseen over the years to the horrors the magnetic tape just might behold.  What “August Underground” essentially boils down to is a raw day-to-day look of two maniacal serial killers on a free-for-all of a butcher’s market, the shooting locations stretch from the recesses of Vogel’s hometown of Warren, New Jersey and all the way to the surrounding back roads and isolated areas of Pittsburgh, Pennsylvania.  Self-produced by Fred Vogel and co-producer John A. Wisniewski, “August Underground” set inaugural voyage on the blood red sea for Vogel’s Toe Tag Productions in 2001.

There is a severe lack of story for Vogel’s debut and that’s no oversight or a sign of omission of a subconscious creativity.  Most normal, everyday people video-record with the intent on not making a feature-length film but rather to capture memories and store them away for another day.  Vogel strives for that realism here where a plot is, for lack of a better word, pointless for the depicted atrocities where the sole purposes is to exhibit dementedness and insanity.  The same can be said about the cast of nameless characters.  The freeform recording does not spout off introductions or make references to monikers to, again, portray as much as organic conversation or realism as possible to further skewer an already gore and violence skewed imagination into thinking what we’re seeing is authentic and inconclusive of its entertainment purpose.  Fred Vogel, under his so-called porno stage name of Peter Mountain, plays the main principal dressed in arrogance and apathy as he’s recorded in a thumbed selection of runtime filmed by an equally bad-natured, sociopathic friend behind the camera, played by a post-release distancing actor under the pseudonym of Allen Peters.  The two complement each other in a Beavis and Butthead friendship kind of way with Vogel in synch with his character’s bloodlust as well as the burly bulk while camera buddy perversely watches, giggling to his friends’ blood shedding exploits.  Their relationship feels like a lonesome outlet to do harm and senseless killing makes the connection firmer, more enjoyable, in the easiest opportunities of a rural area where bored people do evil just to pass the time.  Vogel sets up a series of scenarios rather than plotting acts of a linear story in what becomes an anthology of anarchy that has us climbing down the manhole of maniacal mischief.  Mania is soaked into every inch of “August Underground” and that fits snug and makes warm the scattered story into a much more coagulated coherency.  “August Underground” rounds out the victims, I mean cast, with AnnMarie Reveruzzi, Erika Risovich, Randi Stubbs, Aaron LaBonte, Ben LaBtone, Victoria Jones, Alexis Iris, Stephen Vogel, Dan Friedman, Casey Eganey, Kyle Dealman, and Andy Lauer.

“August Underground” is ugly, nasty, grimy, sordid, perverse, tasteless, callous, and not shot with technical or detailed perfection.  “August Underground” is also unique, bold, unafraid, successful, gory, realistic, practical, and not shot with technical or detailed perfection that’s actually, in its own way, gorgeous.  “August Underground” is all those things and more with its rough-and-ready, extreme exploitation that will be polarizing amongst horror fans and not be a film for everyone’s taste or collection.  Frankly, there are worse underground and extreme horror films out there in the world, but “August Underground,” through the disgusting trices of dismemberment, force feeding of feces, and vomit inducing snuff, has somehow ,at least in this reviewer’s humble opinion, who like in a Dr. Seuss line, has been here, there, and everywhere within the horror spectrum, slipped through the veil of obscurity, having a foot well positioned in the land of the universal acknowledgement where many genre fans putter around with the same old formulas.  The depth of this story is so shallow that digging any deeper into the themes and the possibilities isn’t necessary with its home-made movie facade of people joyfully torturing and killing people being already horrific enough. 

For certain to go out of stock and out of print into physical release obscurity once again, Unearthed Films’ limited-edition collector’s edition of “August Underground” is the 2-disc DVD/Blu-ray combo set to act on right now. The AVC encoded, high definition 1080p, BD50 comes from a MiniDV print, often considered the transitional format from analog and to digital in a tape format with lossy compression. Presented in the original aspect ratio of 1.33:1 aspect ratio, don’t expect image quality to be pristinely detailed and sharp as the MiniDV maxes out at 720p resulting in both, standard and Hi-Def formats, having indistinguishable presentations. Resembling the amateur, at-home movie, scaled down tape quality renders ghosting which shapes and details are bleary and the coloring resembles ember or incandescent with a warm, red-and-yellow layer. What we don’t see much of is a ton of tracking, static, or a ton of noticeable interlace but blacks can be prominently spotty with the horizontal bars. The lossless on-board MiniDV English audio is a PCM 2.0 that doesn’t extend beyond the limits of the camera’s microphone, but the clarity fairs well with clean and commanding dialogue with a natural range between the proximitous cameraman and his killing machine star of a friend in front of the camera. Also, equally interchangeable between the physical formats with what’s made to be a rough recording, discernible differences are minute at best. The Blu-ray and DVD have many of the same special features with the Blu-ray containing a few more frills over its format counterpart with a new Dave Parker interviewing Fred Vogel as well as a separate interview with Vogel and Mike Watt of Rue Morgue Magazine, another new interview with Fred Vogel from Severed Cinema Revisiting Infamy. The formats shared bonus content includes never before seen and new material, such as the original screener version of the film that comes with watermark and a slightly different color grading, a new audio commentary by Fred Vogel and Ultra Violent Magazine’s creator Art Ettinger, a new 10 questions with Fred Vogel answering some of the longstanding queries surrounding the film’s realism achievements and behind-the-scenes permissions and achievements, and a new Toe Tag Masterclass that compares storyboards with the screen version. Archived bonus content include audio commentary with Vogel and actors-producers-brothers Aaron and Ben LaBonte, another commentary track with Fred Vogel alone, an audio commentary by the witty, giggly “Killer,” Hammer to the Head closer look at “August Underground,” on location behind-the scenes, a behind-the-brutality of the film, outsiders’ perspective take in a Too Real for Comfort discussion, an introduction by director Fred Vogel, photo gallery, and trailers. The limited-edition collector’s set comes with a cardboard slipcover with a blurry, interlaced still of Vogel’s character wrapping a forearm around a gagged-girl’s throat while peering into the camera, but it’s the clear snapper case’s front cover that’s more developed with a graphic pencil-graphite illustration of the same slipcover image with more visible mutilated skin and visual weapon of human body destruction. Front cover is also reversible with an interlacing black-and-white image of the main killer. Both discs also sport two different art presses with the Blu-ray mirroring the slipcover image while the DVD has nearly the identical position of killer and victim but with a whole new victim. The region A locked edition has a digestible 70-minute runtime and is, of course, not rated. I would never say Unearthed Films has been diluting their pool of extreme underground gore and guts horror, but their “August Underground” release puts the brazen company back on the mondo-macabre map with definitely a too real for comfort twisted depravity and an au naturel sense of debauchery.

Limited Edition “August Underground” Ready to be Received! 

There’s EVIL in the Saying, No Other Choice. “Violation” reviewed! (Acorn Media International / Blu-ray)

Posted by Steven Lewis on



On the precipice of her loveless marriage ending, Miriam and her not-quite-yet estranged husband getaway to visit her sister, Greta, and husband, Dylan, at their quiet woodland and lakeside home, an area where Miriam and Greta fondly grew up together.  Also sharing a past together as high school friends, Miriam and Dylan enjoy each other’s company in a playful and quipping manner after a lifelong friendship, but after a night of drinking and an outpour of internalized emotions, Miriam slowly awakes to Dylan forcing his way inside her and is unable to stop him.  Confronting Dylan and Greta separately further strains the tense situation to the point that Miriam is made out to be the villain in her own sexual assault, sending Miriam to plot a thorough premediated revenge to not only avenge herself but also to save her sister still married to her attacker. 

Real hands-and-knees puked vomit splattering over a black tarp.  A blindfolded, naked man tied to a chair with a real erect penis saluting tall.  If you’ve never seen this Shudder exclusive 2020 released film and you’re reading this review opening fresh eyed, you might automatically presume Dusty Mancinelli and Madeleine Sims-Fewer’s “Violation” a work of pure vomit gore and BDSM pornography.   Let me quickly put your mind at ease by saying “Violation” is nothing of the sort, but these unmistakable aspects in the Canadian revenge drama are real and explicit as a deep-seeded personal choice for the writing and directing duo’s first feature length project.  Mancinelli and Sims-Fewer’s collaborated history goes back to 2017 as they together write, direct, and produce a handful of short films with a core base of dysfunctional sexual themes in “Slap Happy,” “Woman in Stall,” and “Chubby,” to name a few in their credits.  “Violation” continues the trend, providing cathartic discussion for the filmmakers’ tabooed motif at an attempt at bold realism.  “Violation” is self-produced by Sims-Fewer and Mancinelli under their production banner, the Toronto-based DM Films, in association with Telefilm Canada and The Talent Fund with financing from the executive producer line of independents, such as François Dagenais (“Ankle Biters”), and the husband-wife duo of David Hamilton and Deepa Mehta of Hamilton-Mehta Productions.

In the lead of Miriam is the writer, director, and producer herself, Madeleine Sims-Fewer, succumbing to a characterized funneling toward piteous rock bottom within her role who, from the get-go, is already in hot water with a dissatisfied husband about their trip to see Miriam’s sister. There’s rarely any happiness for Miriam throughout, even amongst the contentious heart-to-hearts with her own sister, and the little designated of joy to her is quickly squashed by the narrative’s crux and then that’s when Sims-Fewer has to about face to a deeper austere level than even before when those closest to Miriam push her away and become her worst enemies in a blink of an eye. Those mercurial enemies are played by Anna Maguire as Miriam’s fickle younger sister Greta, reteaming with her “Forgotten Man” costar Obi Abili as Miriam’s distant husband Caleb and rounding out the cast as Miriam’s alleged rapist and Greta’s husband Dylan is Jesse LaVercombe who also previously worked on the directors’ short films “Slap Happy” and “Chubby.”  Sims-Fewer and Lavercombe really deserve praise for their dedication and courage that circles back to the beginning of this review about real puke and real erection.  There’s vulnerability when totally exposed and these two actors, who have tremendous chemistry, shy very little away from the uncomfortable provocations in hard to swallow scenes of realism.  We also know where Greta stands in the whole scheme of things, but a big plot hole obtrudes with Obi Abili’s Caleb who unexplainably vanishes in the latter half of the two part narrative.  There’s an unsaid presumption that Caleb left Miriam as already rocky marriage kept spiraling down the toilet in the first act, but there was no resolution, leaving the character out in the wind and neglected from the what could have been an interesting interplay of Miriam’s obsessive plot.

“Violation” is not the typical rape-revenge thriller where the victim rises from the ashes like a phoenix and has an insurmountable, if not endless, amount of hate and determination for street justice to see their rapist or rapists six feet under.  “Violation’s” slow burn method leans toward a character study with Miriam.  Her compassionate human side commingles with her victimized treatment and anger as she’s constantly and consistently second guessing her actions or feeling the utmost, sick-to-her-stomach remorse for her actions that needed to be done in order to avenge herself and also protect her sister as noted in a parallel dream she tells Greta about Miriam sitting in the next room while her sister is unintentionally self-strangulating.  Yet, another side to this tale that could also explain Miriam’s hesitancy and, perhaps, guilt.  Sims-Fewer and Mancinelli are very explicit in Miriam’s unhappiness with her marriage and also her flirtatious wanting of Dylan, pent up by the lack of sex and joy in her marriage, and she also initiates a kiss with Dylan.  Combine those details with a night of drinking, Dylan’s firm stance, and the way the film is shot ambiguously, a pressure cooker moment builds between the characters and viewers whether what stated happened actually happened.  Now, I’m not arguing a case for rape culture or make excuses for rapists, but “Violation” tilts toward Miriam’s mental quality that has been compromised by a contentious marriage, life envy, and the preconceived notion that she’s not a good person.  Either way, what follows the inconspicuous moment is sharply horrible, a real unsettling exhibition of meaningful art. 

“Violation” is certifiably fresh and deservingly so with jarring scenes of gruesomeness, a topical theme of trivializing rape accusations, and compelling character study of one woman’s disharmonious existence in her small inner bubble.  Now, you can own it the Sims-Fewer and Mancinelli film on UK Blu-ray from Acorn Media International. The PAL encoded, region 2 Blu-ray presents the film in 1080p full high definition in a widescreen aspect ratio of 2:39:1. “Violation” embodies an engulfing nature domination of the screen through an Adam Crosby lens. No matter how big and important the moment may be in the story, Crosby’s entrancing us with the tiny embers with a close up of the camp fire or having the actors dwarfed by towering trees until the second act that compartmentalizes two antagonistic characters in the same room. The release shows no signs of deflating Crosby’s and the filmmakers’ semi-surreal, flora and fauna vision with a sleek digital recording teeming with a range of wide landscape shots, stark long shots, and super closeups. The English language Dolby Digital 5.1 surround sound captures as snap, crackle, and pop of the great outdoors; however, the dialogue, though quite clean and clearly audible, sounds a bit boxy at times. Special feature include two extras that are essentially one and the same taking up double the space on BD25 with a meet the filmmakers (Sims-Fewer and Mancinelli) talk very briefly about the genesis of the “Violation.” The second extra, the TIFF Intro, mirrors nearly world-for-world the first special feature. “Violation” has a runtime of 108 minutes and is rated 18 in the UK for strong violence, gore, sexual violence, sex references, and nudity. Viscerally intimate and ghastly, “Violation” is labeled the anti-rape revenge narrative with a close examination of trust and the unfortunate triviality of rape sure to churn stomachs and second guess the intentions of those close to you.

Own “Violation” on Blu-ray Home Video!

Mysterious Evil Destroys Small Village Families. “The Wailing” review!

Posted by Steven Lewis on

screen-shot-2017-02-04-at-8-16-32-pmIn a small South Korean village, tight-knit families practically know one another in the quaint middle-class community. When mysteriously deadly destructions from inside local families and strange stories of animal carcass devouring creatures in the woods surface, local police sergeant Jong-Goo begins an investigation to connect a pattern of violence and superstition and at the center of it all is a suspicious and reclusive Japanese traveller. Bound by the law and an overall lack of courage, Jong-Goo proceeds to investigate with extreme caution, but when his young daughter, Hyo-jin, becomes subjected to the same symptoms that overtook destroyed families from within, the desperate father sets aside rules and regulations and uses threats and force when visiting the Japanese Stranger, whose rumored to be an evil spirit that’s plaguing the small village with terror and death.
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By far, “The Wailing” sets the precedent on folklore horror. Acclaimed writer-director Hong-jin Na lands a harrowingly ambitious, well-constructed film right into the lap of horror fans with “The Wailing,” known also as “Goksung” in the film’s country of South Korea. South Korean filmmakers have once reestablished proof that foreign films can be as masterful, as bold, and as elegant when compared to any other film from major studio productions. Hollywood has started to come around by remaking one of South Korea’s most notorious films, the vengeful thriller “Oldboy,” and seeks to remake recent international hits in “Train to Buscan” and “I Saw the Devil.” Lets also touch upon that top Hollywood actors are beginning to branch out to South Korean films. “Captain America” star Chris Evans had obtained a starring role in Joon-ho Bong’s “Snowpiercer” alongside co-stars Ed Harris and the late British actor Sir John Hurt. “The Wailing” will reach similar popularity being one of 2016’s most original horror movies and one of the more unique visions of terror to clutch the heart of my all time favorite’s list.
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Do-won Kwak stars as Sergeant Jong-Goo, a officer who avoids trouble at all costs and has no motivation to be on time for anything. Kwak, basically, plays the fool character, comically going through the routine of investigating brutal murders complete with stabbings, burnings, and hangings despite his Captain’s constant chastising and seizes every opportunity to act dumb and look stupid, but once the story starts to focus “The Wailing” as nothing more than an offbeat black-comedy, Hong-ja Na devilishly about-faces with a severe turn of events that’s a mixed bag of genres. Kwak no longer plays the lead role of comic relief; instead, a more self-confident Sergeant Jong-Goo takes control of the investigation as the deeper he finds himself involved in the dark plague that’s ravaging his village. He hunts down the Japanese Stranger, the debut South Korean film for long time Japanese actor Jun Kunimura (“Kill Bill,” Takashi Miike’s “Audition”) with a zen like aurora that’s enormously haunting to behold and captivating when his presence is lurking amongst the scene. Though Kunimura’s demeanor contrasts with other actors, he’s very much in tune with the dynamic, but it’s the maniacally, foul-mouth ravings of Hyo-jin, played by Hwan-hee Kim, that stand out and are the most distraught during her possession state that could give “The Exorcist” a run for it’s money and is a visceral vice grip to the soul that has to be experienced. Woo-hee Chun and Jung-min Hwang round out the cast in their respective and memorable co-starring roles as a peculiar no named woman and a flashy shaman.
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“The Wailing” incorporates various folklore stemming from cultures all over the world including the Koreas, China, Japan, and even from China’s bordering neighbor Nepal and meshes them with religious practices of Buddhism to even the far corners that the Catholic faith possesses. The luxuriant green South Korean mountain backdrop sets an isolated, ominous cloud over a beautiful and serene archaic village, an awe-inspiring juxtaposition created by cinematographer Kyung-pyo Hong that coincides with the complete dread piercing through the heart of the story; a perspective vastly opposite to Hong’s works in the previously mentioned “Snowpiercer” that’s set in the tight confines of a class dividing bullet train. “The Wailing” bundles together mythos with visionary concepts and landscapes in an epic mystery-thriller that’s unforgettable; it will cling to you, like a evil-dwelling spirit, well after the film is over.
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20th Century Fox, in association with Ivanhoe Pictures and Side Mirror, produce Hong-jin Na’s top horror contender “The Wailing” with Well Go USA and Kaleidoscope Home Entertainment distributing on DVD and Blu-ray. Unfortunately, I was provided with a DVD-R screener and can’t specifically comment on specifications and image or audio quality. Accompanying the screener were two bonus features: a behind-the-scenes featurette and the beginning tale of “The Wailing” featurette. Both were fairly informative that gives insight on Hong-jin Na’s mindset and how the director’s ambitious story in a malignant tale of comedy, horror, and mysterious involving demons, shamans, and, quite possibly, the devil himself. “The Wailing” significantly captivates, sucking you into the darkness with an uncanny amount of pull with a story too terrifyingly original to avert and too thick with vigorous characters in a plot twist too harrowing to forget.

Torment and Puke is One Girl’s Evil Journey. “Madness of Many” review!

Posted by Steven Lewis on

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Victoria propels through an discarded and tragic life of torture and suffering. Her parents sexually abuse her as a child and into her adulthood where she finally is able to desperately flee in search of a new and hopeful life, but Victoria’s destined to fulfill a life with more suffering, even worse than while under the abusive and ever watchful eyes of her family. The anguish built structure of her being leads Victoria to an endless amount of pain that grows inside her, sprouting a vast and treacherous sea of meaningful existence, and blossoming into a eye opening, or eye gouging, experience in which she’ll never forget. This is her journey through the gateway of hell to the inevitable rebirth of pain and puke.
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Considered to be the “most controversial” film made in Denmark, director/writer/editor/special effects artist Kasper Juhl’s experimental horror film “Madness of Many” goes through four chapters of Victoria’s detestable existence and transformative suffering. There’s never a time when she’s safe, being dredged through the scum and the dirt for all of her life.  The former prostitute and drug addict doesn’t ever rehab or recoup from her time as a sex slave, a human pin cushion, or a human fluid dumpster as her story, mostly told off-screen in a monologue accompanied by grotesque and digestible imagery, is considered to be a rise of a phoenix through the clout of ashes.
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However, Victoria is not alone. Numerous other women, some representing Victoria in various stages of her life and others just in an akin to Victoria’s situation, are affixed to the same suffrage and, in the same fashion as many Unearthed Film’s features, self-induced vomiting is a big part of their torment (and about 1/4 of the visual story). “Slaughtered Vomit Dolls” and films like it, such as “Madness of Many,” have never really been my cup of hot bloody spew stew, but “Madness of Many,” by far, has better visual effects when considering the torture and the gore amongst the spew-splattering titles.  Much like Victoria, the viewer has to suffer through drawn out portions of the narrator’s exposition in order to set up and enjoy Kasper Juhl’s effectively realistic sinew and gut-churning effects.
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I must admit there’s a certain poetic underlining and parallelism to Juhl’s film; a sort of an art-house, coffee shop “fung shui” complexity about suffering that can only be told through the Juhl’s telling of Victoria’s devastating story. The actor portrayal diminishes much of that structure that merely falls into the category, for most of the viewing experience, of interpretative dancing told in the eloquent genre of doom metal and deep underground horror cinema. Yet, Victoria’s plight is never a matter to be cheered for, never a route for hope, and certainly never a situation anyone would envy. “Madness of Many” is not, and I repeat, not a feel good movie.  Its not a kid’s movie. Hell, it’s not even a movie for most adults. Certain breeds of human would consider the Kasper Juhl’s film in their niche of subversive cinema. 
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Produced by Hellbound Productions and distributed fittingly by Unearthed Films and MVDVisual, “Madness of Many” delivers controversy; perhaps not in the States, but for Denmark, I’m sure and will cause much controversy for the weak stomachs who find this title in their possession, going into a viewing without the heads up of what they’re getting themselves into. Juhl’s only English film to date isn’t glamourous popcorn horror with a recognizable cast and it’s replay value is next to none, but if the gore and shock genre is the game you’re willing to play to perverse over, then the “Madness of Many” would be right up that twisted alley.

Evil That Is Hard to Swallow. Bad Meat review!

Posted by Steven Lewis on

badmeatNot quite sure I want to review Bad Meat. Analyzing a project that never saw completion is like trying to teach terminally ill 3 year old how to manage a bank account. As I do a little more back ground research on Bad Meat, I’ve come across some very interesting and almost discouraging tidbits about the history behind Bad Meat. First off, the director is named Lulu Jarmen. Right now, you might be asking yourself who the hell is Lulu Jarmen and what else has she directed? Some people think Jarmen took over the project from Rob Schmidt, the director behind the inbred cannibal movie Wrong Turn and who promised fans that Dead Meat would be the most vile move ever seen quoted in 2011. However, many other people believe that Lulu Jarmen is a pseudo-name for Rob Schmidt because of how embarrassedly bad Bad Meat turned out financially and plot-wise.

Six troubled youths are sent to the isolated Camp Hardway under the cruel thumb of an hitler-esque figure and perverse, sadistic counselors. When the camp cook feeds the counselors rotten meat, the counselors transform into raging, flesh eating psychopaths.

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The premise is a shortcoming much like the ending of Dead Meat. Literally, the film just ran out of money from Capital films and immediately shut down production half way through the movie. Is it a good thing that perhaps Schmidt (or Jarmen) shot the movie from first sequence? One would think. Yet, Dead Meat ends right at the middle of the movie and in the midst of an attack none-the-less. The characters’ fates, the six teenage renegades, are left unexplained by an open ended, most likely reshot, ending that has left us to conjure up our own imagination to seek an ending to Dead Meat.

Dead Meat from the beginning had no promise even though fun to watch. The perversity is awkward, the fluids flow in chunky green vomit and think warm red blood, and the dialogue is as colorful as all the spectrums of the rainbow. The first 82-83, give or take, manages to at least make your time worth wild, but the last ten minutes are severely butchered with reshot with scenes of a severely burned (maybe?) survivor of the camp laying in a hospital bed and typing away on a bedside computer. Typing what? Yo no se. Most likely the story behind how this survivor came to be mangled and so horribly disfigured. These scenes, which are interjected into the original film, barely have any connections besides the name of the main character Tyler being thrown about by his apparent older brother who looks old enough to be his father.

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Dead Meat is not the “sickest move you’ll see this year.” Besides, I most likely would not even call it a full film. Intriguing, gross, and hilarious but a grand let down by Jarmen (or by Schmidt, who cares?). Any bit of Dead Meat’s success died with Capitol Films the production company. Revolver Entertainment’s pickup of Dead Meat would have rejuvenated life into this film, but instead arbitrary reshoots baffles and confuse.