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Main Entry: exclusion
Definition: expulsion; forbiddance
Synonyms: ban, bar, blackball, blockade, boycott, cut, debarment, debarring, discharge, dismissal, ejection, elimination, embargo, eviction, exception, excommunication, interdict, interdicting, interdiction, keeping out, lockout, nonadmission, occlusion, omission, ostracism, ousting, preclusion, prevention, prohibition, proscription, refusal, rejection, relegation, removal, repudiation, segregation, separation, suspension, veto
Antonyms: acceptance, addition, admittance, allowance, inclusion, incorporation, welcome
send to Coventry, to refuse to associate with; openly and pointedly ignore: His friends sent him to Coventry after he was court-martialed.
People from the music industry that I respect, idolize or just simply appreciate: Ennio Morricone, Amy McDonald, Daan, David Bowie, Therion, Pink Floyd, Leonard Cohen, Alice Cooper, Neil Diamond, Joy Division, Bobby Darin, the Everly Brothers, Bobby Vinton, Gene Pitney, Herman's Hermits, The Hollies, The Animals, The Byrds, Donovan, Vargoth, Drudkh, Behemoth, Triggerfinger, Falkenbach, Finntroll, Einherjer, The Smiths, Nick Cave and the Bad Seeds, BB King, Ministry, Lynyrd Skynyrd, Rufus Wainwright, The Allman Brothers Band, Johnny Cash, Paul Simon, Raymond Lefèvre, Children of Bodom, Volbeat, Elvis Presley, Bruce Springsteen, Tom Waits, Anathema, Velvet Underground, Norah Jones, Fatboy Slim, Moloko, Angelo Badalmenti, Sarah Brightman, Lady Antebellum, Enigma, Muse, Army of Lovers, Chris Isaak, Lesley Gore, Kasabian, Pearl Jam, dEUS, Mumford & Sons, The Subs, Nirvana, Soundgarden, Cuff the Duke, Pulp, Oscar and the Wolf,
People from the movie industry that I respect, idolize or just simply appreciate: John Saxon, Mario Bava, Joe D'Amato, George Eastman, Darren Lynn Bousman, Boris Karloff, Enzo G. Castellari, Bo Svenson, Fred Williamson, Antonio Margheriti, Klaus Kinski, Lloyd Kaufman, James Gunn, Rob Zombie, Sid Haig, Matthew McGrory, Karen Black, Dennis Fimple, Irwin Keyes, Tom Towles, Bill Moseley, Wolfgang Petersen, Nicol Williamson, Fairuza Balk, Piper Laurie, Philippe Mora, Tom Holland, Ronny Cox, Lucio Fulci, Christopher George, Giovanni Lombardo Radice, Catriona MacColl, Fabio Frizzi, Nicolas Cage, Todd Farmer, Tom Atkins, Paul Verhoeven, Kurtwood Smith, Miguel Ferrer, Ray Wise, Stuart Gordon, H.P. Lovecraft, Jeffrey Combs, David Gale, Barbara Crampton, Fernando Di Leo, Joe Dallesandro, Terence Fisher, Anton Diffring, Hazel Court, Christopher Lee, Robert Stevenson, William Girdler, Rebecca De Mornay, Mako, Ti West, Tom Noonan, Mary Woronov, Paul Bartel, David Carradine, Roger Corman, Adrian Hoven, Monte Hellman, Warren Oates, Harry Dean Stanton, Steve Railsback, Ed Begley Jr., Peter Fonda, Nathan Juran, Lionel Jeffries, James Glickenhaus, Ken Wahl, Joaquim de Almeida, Sam Peckinpah, William Holden, Ernest Borgnine, Ben Johnson, Edmond O'Brien, Kurt Raab, Helene Cattet & Bruno Forzani, Karl Freund, Peter Lorre, Colin Clive, William Lustig, Joe Spinell, Caroline Munro, Tom Savini, Charles B. Pierce, Robert Wise, Fred Dekker, Fritz Lang, David Hemmings, Michael Ironside, Jan-Michael Vincent, Bette Davis, Joseph Cotten, Agnes Moorehead, Victor Buono, George Kennedy, Charles Bronson, Richard Fleischer, Elmore Leonard, Paul Koslo, Michael Winner, Brian Garfield, Lee Marvin, J. Lee Thompson, Riz Ortolani, Yul Brunner, Eli Wallach, Robert Vaughn, James Coburn, Steve McQueen, Michael Crichton, James Brolin, Mel Brooks, arry Cohen, Michael Moriarty, Jean-Paul Belmondo, Robin Hardy, Edward Woodward, Britt Ekland, Ingrid Pitt, Peter Cushing, Michael Gough, Herbert Lom, Udo Kier, Michael Reeves, Vincent Price, Ian Ogilvy, Dick Maas, Henri-Georges Clouzot, Paul Naschy, Paul Morrissey, Truman Capote, Peter Falk, Alec Guinness, David Niven, Elsa Lanchester, Peter Sellers, Gene Wilder, Patrick McGoohan, Herb Freed, Richard Kiel, John Landis, Tim Curry, Simon Pegg, Jenny Agutter, Frank Oz, Dario Argento, Quentin Tarantino, Everett De Roche, Stacy Keach, Russell Mulcahy, Brian Trenchard-Smith, Donald Pleasence, George Peppard, Simon Wincer, Narciso Ibáñez Serrador, Gary Sherman, Faith Domergue, Alexandre Aja, Ving Rhames, Christopher Lloyd, Eli Roth, Ishirô Honda, Greydon Clark, Cybill Shepherd, Neville Brand, Vincent Schiavelli, Martin Landau, Jack Palance, Alan Rudolph, Jonathan Demme, Pam Grier, Mark L. Lester, Malcolm McDowell, Patrick Kilpatrick, Don Dohler, Everett McGill, Corey Haim, Gary Busey, Jake Busey, Charlton Heston, Lorne Greene, Walter Matthau, Peter Bogdanovich, Woody Allen, John Milius, Franco Nero, Crispin Glover, Dennis Hopper, Dick Miller, Barbara Steele, Armando Crispino, Sergio Grieco, Helmut Berger, Lee Van Cleef, Robert Forster, John Huston, Melvyn Douglas, Douglas Fairbanks Jr., George Miller, Mel Gibson, Robert Rodriguez, George Hilton, Kane Hodder, Michael Madsen, Tony Todd, Nicolas Winding Refn, William Grefe, Cirio H. Santiago , Joe Dante, Don Coscarelli, Angus Schrimm, Tobe Hooper, Tiffany Shepis, Brad Dourif, George P. Cosmatos, John Boorman, Stephen Boyd, Tommy Lee Jones, Rod Steiger, Brian DePalma, Gunnar Hansen, George A. Romero, Simon Boyes, Adam Mason, Jack Arnold, M. Emmet Walsh, James Stewart, Darren McGavin, Kathleen Quinlan, Jack Lemmon, Robert Foxworth, Olivia De Havilland, Michael Pataki, Jerry Stiller, John Carradine, Julian Sands, Freddie Francis, Don Sharp, William Castle, Bill Rebane, John De Bello, Terry O'Quinn, Peter Sykes, Wes Craven, Michael Sarrazin, Lewis Teague, Yaphet Kotto, Sergio Stivaletti, John Phillip Law, Michele Soavi, Umberto Lenzi, Anna Falchi, Lon Chaney, Sergio Martino, Edwige Fenech, Ursula Andress, Michael Sopkiw, Edmund Purdom, Hal Yamanouchi, Barbara Bach, Cameron, Mitchell, Alberto De Martino, Ernesto Gastaldi, Maurizio Merli, John Steiner, Mel Ferrer, Barbara Bouchet, Marty Feldman, Tomas Milian, Bruno Mattei, Lamberto Bava, Luc Merenda, Anita Strindberg, Luigi Pistilli, Ivan Rassimov, Sergio Corbucci, Tito Carpi, David Warbeck, Luciano Pigozzi, Gianfranco Giagni, Florinda Balkan, Rosalba Neri, Mel Welles, Dagmar Lassander, Neil Jordan, Walter Huston, Ray Bradbury, Gregory Peck, Orson Welles, Bert I. Gordon, H.G. Wells, Ida Lupino, Kirk Douglas, David Lynch, Eddie Romero, Bela Lugosi, Al Adamson, Tor Johnson, Edward D. Wood Jr, David Cronenberg, Christopher Walken, Tom Skeritt, Martin Sheen, Dino De Laurentiis, James Wan, Anthonhy Perkins, Curtis Harrington, Julie Harris, Ornella Muti, Ray Lovelock
Death Race 2050 (2017)
Trashy and incredibly cheap; - even for Roger Corman standards!
Entertainment, much like beauty, is in the eye of the beholder In case you manage to entirely switch off all brain functions as well as your sense for good taste, there's a fair chance you'll find entertainment in "Death Race 2050". If, however, the tiniest bit of intellect remains active, the incompetence and stupidity of the overall production is most likely to quickly overpower the entertainment factor. I'm a big fan of the original "Death Race 2000", and it actually was one of the very first true cult classics I ever watched. It was a uniquely satirical and eccentric adventure, especially for its time, and given its enormous success and cult following it is rather incredible that Roger Corman didn't produce a whole bunch of sequels. He sponsored a handful of imitations (like "Deathsport", "Cannonball!,...) and there was a sort of big-budgeted remake in 2008 (which also spawned two sequels) but for some strange reason it took forty years to come up with a direct sequel. "Death Race 2050" pretends like the Paul W.S. Anderson remake never existed and attempts to reinstall the satire and flamboyance of the almighty Paul Bartel original. But the unknown and inexperienced writer/director G.J. Echternkamp also immediately wants to surpass the original, which basically means that everything about "Death Race 2050" is tremendously over-the-top and ridiculous. In the year 2050, the United States of America turned into the United Corporations of America with its headquarters located in a new Washington where Dubai used to be and 99, 3% of the population is unemployed because machines take care of everything. In order to entertain the masses, and simultaneously tackle the problem of overpopulation a bit, the Chairman of the UCA introduced the coast- to-coast Death Race in which the crazed participants also receive points for running over pedestrians. The robust rally pilot and public's favorite Frankenstein has won previous all editions, but this year he has a couple of tough challengers including a genetically engineered racer called Jeb Perfectus and a political spy as his co-pilot.
Roger Corman became legendary as a producer for many reasons, for example because he launched the careers of several brilliant people (Francis Ford Coppola, Jack Nicholson, James Cameron,
) and he gained the nickname "King of the B's" because all his films are extremely low-budgeted. Back in the old days this formed less of a problem because the lack of budget always got widely compensated through imaginative plotting and creative usage of atmosphere, humor and suspense. That was also the case for the original "Death Race 2000", but here the cheapness practically ruins the entire film. "Death Race 2050" truly looks amateurish and pitiable, with lousy editing, uninspired decors and poor computer-generated effects. This movie is supposed to revolve around a hi-tech and futuristic rally, but the participants' cars look like soapboxes with handmade and paper- mâché decorations. Since everything looks so damn fake and phony, the rally as well as the entire film quickly becomes dull and irritating. Manu Bennett tries very hard to act tough and cool, but he clearly knows that he can't hold a candle to David Carradine who depicted Frankenstein in the original film. Marci Miller is a natural beauty and certainly not a bad actress, but her role is a misfit in the overall imbecilic scenario. The action sequences and wannabe controversial themes in "Death Race 2050" are a complete failure. The only things that are more or less entertaining are the exaggeratedly OTT performance by Burt Grinstead (Perfectus) and the more subtle humorist references, like for example the new names for the States. Oh, and perhaps "Death Race 2050" will also be remembered as (one of) the first films to mock the persona of Donald Trump. In 2050, the new big leader is a megalomaniac businessman with a peculiar hairpiece. Hmm, I wonder who he's modeled after...
Vintage "Twilight Zone" material.
After the dreadful disappointment of the previous episode "The Big Tall Wish", it was seriously a relief to notice that this is another good old-fashioned TZ episode with all the familiar but nevertheless fantastic ingredients. Within seconds, you're able to tell that things will not end very well for our protagonist Rocky Valentine, and that the mysterious Mr. Pip is a lot more than just the overly polite and chubby fella that he pretends to be, but that's exactly what we've come to expect from "The Twilight Zone". We want cynical humor, sardonic characters, mounting tension and bizarrely grotesque twists
Guess what, the massively underrated director John Brahm and the even more gifted writer Charles Beaumont have foreseen all these trademarks and more in "A Nice Place to Visit". Small time crook Rocky Valentine gets shot in the back whilst running from the police. When he wakes up in a luxurious mansion, with a jolly fat man by his side who instantaneously grants ALL his eccentric wishes, Rocky soon realizes that he died and ended up in paradise. Of course Rocky wonders why a thug like him deserves such a heavenly treatment, but he doesn't care even if it's a mistake and greedily enjoys the overload of lewd women, gambling profits and expensive cars. But, wait a minute, does Paradise really means getting everything you want without the slightest form of effort or challenge in return? "A Nice Place to Visit" which is a brilliant title if you come to think of it is a very enjoyable episode with good dialogues and impeccable performances from both lead actors. You just can't wait for Mr. Pip's character to transform from the obedient servant to the diabolical henchman that he somehow must be. Normally I would rate this episode a solid 7 out of 10, but since it's such a major improvement over the previous one, I'm giving it an 8. What the hell, I can do that!
Attention: no whining in the Twilight Zone!
I still can't believe there's a Twilight Zone episode that I was forced to rate less than 5 out of 10! I still can't believe that I had to see this episode twice because I fell asleep the first time! How is it possible to fall asleep during a story that only last 25 minutes? More importantly, how is it possible to fall asleep during an episode of "The Twilight Zone"; - generally considered as the greatest Sci-Fi/Fantasy TV-series of all times, and a personal favorite that (thus far) had never let me down? It's fairly simple, namely because "The Big Tall Wish" is dull, whiny and completely uninteresting. Unlike every single other installment in the series, this one exists for 95% out of talking (whining, in fact) and the supernatural aspects aren't even worth mentioning! The tale starts with an aging boxer whining. Bolie Jackson whines to himself in the mirror and whines to his coach. Then he goes home and whines to a little 9-year-old boy. Then he steps into the ring and nearly has his head smashed off, which was a brief and relieving moment of action. Then it suddenly looks as if the DVD is damaged, but it's a trick, as the little boy's hugging the TV and making a wish somehow arranged for the roles to be reversed and Jackson win the fight. You'd expect for our old boxer to feel happy and victorious, but hell no! What's the first thing he does? He goes home and starts whining again against the kid who made him win! I don't know what went wrong here, but "The Big Tall Wish" almost doesn't belong in the wondrous universe that is "The Twilight Zone". Everything that makes this series great is missing here: a compelling plot, cynical humor, sardonic characters, brooding tension or unforeseeable twists. The only thing this episode has to offer is morals. Far too much moral that gets shoved down our throats via endless whining, whining, whining...
Child Eater (2016)
Cover your eyes, little children
"Child Eater" is a more than admirable attempt to revive a specific type of sub-genre, namely films that are probably best described as "boogeyman horror". Movies that bring to life eerie monsters that were initially invented to petrify little children, but then turn out to be frightfully real for kids and adults! In this context, I spontaneously think of semi-classics like "Jeepers Creepers", "The Gate", "Troll", "Monster in the Closet" or "The Boogens", but "Child Eater" is actually a lot darker and more sinister than those. The tone, atmosphere and evil nature of the boogeyman here is more reminiscent to "Candyman" or the original "Nightmare on Elm Street". Mind you, I'm not saying the overall film is as good as those classics, but merely that the titular monstrosity is truly nightmarish and his background story is ultimately morbid. Writer/director Erlingur Thoroddsen I think we better keep an eye on him makes it clear straight from the beginning that the tale he wishes to tell is dead serious. During the atmospheric opening sequences, the camera follows around a blond little girl who wanders around all alone in the woods. Only when a person approaches her to offer help, she turns around and we learn that the poor kid is holding her own eyeball in her hand. Don't know about you, but this is definitely one of the spookiest yet most attention-grabbing intros I've seen in quite a long time! 25 years later, the same area is still under the spell of the notorious child murderer Robert Bowery. He used to be a friendly petting zoo owner, but a dreadful disease caused him to go slowly blind
and utterly mad. Bowery became convinced that he wouldn't go blind for as long as he murdered young children and ATE their eyes. But that was a long time ago. Bowery was killed, his story became an urban legend and only occasionally there are still reports of a mysterious figure dwelling around in the woods. When 7-year-old Lucas comes to warn his babysitter Helen that there's a monster in his closet, she sends him away because she has more serious problems on her mind. But then Lucas vanishes into the night. As Helen goes further and deeper into the woods to look for him, she begins to realize that the monstrous killer is back. I really enjoyed "Child Eater" a lot. It's definitely not the most original horror story, but it benefices tremendously from the desolate ambiance, grim set-pieces and the menacing titular monster. Bowery is a tall creep with thick dark glasses, ginormous ears, rotting teeth and a constant petrifying grin on his face. He actually looks a lot like Michael Berryman... Thoroddson doesn't waste any energy on unnecessary humor and there's plenty of room for gore and bloodshed next to the eerie suspense. The acting performances are adequate enough and although there are some minor flaws, "Child Eater" is an impressive long-feature debut.
Night of Something Strange (2016)
Bodily fluids overload
I've been a horror fan for my entire life and even daresay that I kept up with the trends and hypes fairly well, but during "Night of Something Strange", my mind made an unpleasant reflection for the very first time
Suddenly it occurred to me that I might be getting too old for this genre! This particular film is so incredibly infantile and tasteless that it bothered me tremendously, yet the rest of the crowded theater at the Brussels International Fantastic Film Festival (BIFFF) seemingly couldn't get enough of all the filth and cheered out loud. This can only mean one thing, namely that trash like this is now considered the standard for undemanding horror entertainment. Don't get me wrong, I always appreciated low- brained and trashy horror flicks with sleazy subject matter, gratuitous sex footage and over-the-top gory make-up effects (like for example all 80s slashers), but "Night of Something Strange" truly reaches new heights in terms of vulgarity. We're talking necrophilia, genital mutilation, retarded jokes involving feces, massive fake penises and cum showers, vaginas with teeth (!) and bizarre worm-monsters crawling out of all possible body holes. The film starts with repulsive hospital janitor Cornelius climbing on top of a young woman's corpse in the mortuary, and the camera gradually zooms out towards the medical tag on her toe which states that she died from an unidentified sexually transmitted disease. Later that night, our janitor suffers from agonizing pains and turns into a type of perverted zombie. He rapes and thus contaminates his own wife and then they go their separate ways, which naturally sets in motion a humongous epidemic. Meanwhile, seven of the most sex-obsessed high-school teenagers in the world are heading out for a spring break holiday at the coast. They stop for the night at the Redwood Motel, but eerie Cornelius and several more STD-zombies are already prowling the area. It will be a night full of sexual outbursts, but not exactly the kind these horny kids are hoping for
It was stated in the BIFFF program booklet that "Night of Something Strange" is inspired by 80s classics like "Night of the Creeps" and "The Blob". There's definitely truth in that, but at least back then the sleaze was mainly suggestive and the humor was slightly more mature. Numerous sequences are simply retarded and downright embarrassing for the young actors involved. I genuinely felt a surrogate sense of shame for the kid who played Freddy and I wonder if he seriously still aspires a proper acting career after this. And yet, I cannot be entirely negative
Looking at the film's poster and title, it's fairly clear that you shouldn't expect an intelligent and suspenseful horror masterpiece. Writer/director Jonathan Straiton's main objective is to amuse a specific target audience with gooey splatter and crazy plot twists, and he definitely succeeds in doing that. The make-up effects were quite professional, the tiny sub plot of the deranged motel owner was surprisingly inventive and most of the annoying characters died in ways that were even more painful than I hoped for.
The Night Watchmen (2017)
Passable splatter comedy
"The Night Watchmen" is a vampire movie with clowns
but the clowns are the vampires and in fact the titular night watchmen are the clowns! Does that make sense? If not, it doesn't matter. It's a horror comedy with the emphasis laying heavily on the comedy part, and although enjoyable enough while it lasts, it's probably one of the least memorable movies you'll ever watch. The script, written by two of the lead actors, contains a few inventive gimmicks and a small handful of genuine laughs, but overall it's a routine and largely uninspired fan-boy movie with the usual splatter effects and infantile fart, weed and bimbo jokes. We're introduced to the four night watchmen of the Baltimore Gazette newspaper building, located somewhere in the harbor. Their job is generally boring and monotonous, so they entertain themselves by peeping at the sexy office ladies, playing human bowling, smoking weed and stealing other people's lunch packets. Tonight will be different, however, because the coffin of a famous dead clown mistakenly ended up at the newspaper building. The clown mysteriously died during a tour in Romania and got repatriated, but he quickly rises from his coffin and goes on a violent killing spree during the one night that everybody stays in the office to work on a deadline. Personally, I think that the concept of eerie vampire clowns entering the USA via the Baltimore harbor and gradually bloodsucking their way through the rest of the country might even have worked as an actual horror movie, complete with atmospheric tension and scary clowns' make-up, but apparently the makers decided it was better to focus on incompetent watchmen instead. Thanks to the copious amounts of fake blood and the exaggeratedly bad acting, "The Night Watchmen" is entertaining enough to watch at a festival or in the company of drunken friends, but don't expect to still be talking about it a week later.
Don't Kill It (2016)
Dolphie versus the host-hopping demon!
Could it be that Dolph Lundgren found a long-awaited second career boost? Sweden's most muscular export product gives a stellar although very clichéd performance as the eccentric demon hunter Jebediah Woodley. Personally, I watched "Don't Kill It" at the Brussels International Fantastic Film Festival where the over- enthusiast director Mike Mendez was present and announced that Jebediah Woodley easily could become the recurring protagonist in a whole franchise, if and only if this very first movie becomes a tremendous success. Well, based on the response in Brussels, I guess that they can start scripting the sequels! The crowd absolutely loved it, yours truly included. Admittedly, these were the ideal circumstances to watch a type of film like "Don't Kill It": late at night at a crowded festival, or together with a bunch of friends, where gory entertainment is more important than originality, logic or intelligence. The concept is derivative of several films and TV-series. Woodley's profession is similar to "Supernatural" and other series, whereas the kind of demon he's hunting down is reminiscent to the alien in "The Hidden" (1987), the killer in "Fallen" (1998) or even Jason Voorhees' heart in "Jason Goes to Hell".
The title "Don't Kill It" is very apt, since the demon that Jebediah chases all the way to middle-of-nowhere town Chicory Creek in Mississippi is a species that continuously switches hosts and each time possesses the person that killed the previous host. So, in other words, don't kill it otherwise you become it! After the mandatory disbelief and laughter, Jebediah teams up with the beautiful FBI agent Evelyn Pierce in order to prepare a demon trap, but for some reason the imbecilic Chicory Creek population always gets in the way. Unless you're a complete sourpuss or anti-horror crusader, it's nearly impossible to dislike "Don't Kill It". Straight from the opening sequences, the film is excessively gory and violent and the make-up effects are good old-fashioned craftsmanship! Robert Kurtzman and his team deliver fantastic splatter art, and the undeniable highlight of the film is a town's meeting that turns into a bloodbath when the demon nonchalantly walks into the town hall and starts slaughtering. It's gory and funny, because Jebediah constantly loses track of who's possessed.
La mano che nutre la morte (1974)
Eyes without a Face, Klaus Kinski got no human grace
"The Hand that Feeds the Dead" is blessed with an enticing title and the presence of cult icon Klaus Kinski, but it's basically nothing more than a cheap, uninspired and exploitative rehash of the French horror milestone "Eyes without a Face". That doesn't necessarily have to be a negative thing, because many decent and entertaining horror flicks are derivative of that same classic for example Jess Franco's "The Awful Dr. Orloff" or the British sleeper "Circus of Horrors but this is a prototypical example of a rip-off that doesn't contribute anything to the genre whatsoever. Kinski stars as Dr. Nijinski, former acolyte of the brilliant Professor/Baron Ivan Rassimov who allegedly stood on the verge of a tremendous surgical breakthrough before he got killed in an all-devastating fire. The same fire also heavily mutilated the beautiful face of Rassimov's daughter (who also happens to be Nijinski's lover) and that's why Nijinski now attempts to finalize Rassimov's experiments. The work requires for Nijinski to lure unsuspecting girls to the castle and for his hunchbacked slave to kidnap innocent victims from the nearby village. "The Hands that Feeds the Dead", like many of its supportive characters, appears to be in a constant comatose condition. The period decors and filming locations are definitely adequate, but the pacing is dreadfully slow and the events are painfully dull and predictable. Half of the film is sheer padding footage, varying from pointless lesbian sex to endlessly overlong footage of bubbly potions and flashy machinery inside a pathetic wannabe laboratory where supposedly the skin and facial transplants take place. Oddly enough, the actual transplants are simultaneously gross and boring. The make-up effects are repulsive, but the extreme close-ups of the skinless faces seem to last eternally. Klaus Kinski obviously also wasn't the least bit interested in this film, and gives away the most indifferent performance imaginable. Those incredibly overlong transplantation sequences, for instance, plainly don't even star him. With his ego and reputation, Kinski probably refused to waste his precious time shooting retarded footage like that, and thus all we ever see are the surgeon's hands and uniform.
Note: although not an actual character in the film, I assume that the chose to use the name Ivan Rassimov must be some sort of inside joke of the director, as Ivan Rassimov really was a respectable Italian cult/horror actor around that time and starred in, among others, "Jungle Holocaust", "Eaten Alive", "Spasmo", etc..
Tonight She Comes (2016)
Who wants to see something gross and utterly senseless?
In case you are - like me - a lazy person who solely selects movies based on the title and poster images, chances are fairly high that you'll assume "Tonight She Comes" is a good old-fashioned throwback 80s slasher. Well, if it's a slasher you seek, than you should certainly not watch this movie! Everything looks promisingly familiar during the first 15-20 minutes, with a remote lakeside cabin setting and the introduction of four lead characters (2 guys and 2 girls) that are dumb, horny and basically just begging to get slaughtered in the most painful ways imaginable. They indulge in mindless sex and alcohol, although they should be looking for their friend Kristy, the girl who owns the cabin but is nowhere to be found. Then, suddenly, "Tonight She Comes" turns into a bizarre and disgusting mixture of body-horror and demonic possession flick, but unfortunately it's nothing even remotely resembling the original "The Evil Dead". Kristy does return to the cabin, butt-naked and covered in blood, but she apparently has a different type of rancid party in mind. As it turns out, Kristy was the victim of some sort of satanic ritual that a deranged father performed, together with his son and daughter, in an attempt to resurrect their dead mother. To make it things even crazier, the son (Philip) and daughter (Felicity) revolt against their psycho daddy and team up with the dumb kids. Admittedly all this doesn't sound half-bad, and "Tonight She Comes" easily could have been a decent horror sleeper, if only it wasn't filled with imbecilic and irritating defaults. Writer/director Matt Stuertz seemingly improvised the script whilst he was filming it, because 98% of the events are sheer random and utterly senseless. The character say or do things that are entirely against human nature, but that appears to be the standard in low- budget horror nowadays, and the film is full of continuity errors. For instance, except if the moon shines particularly bright in these parts of the woods, there are constant goofs with the daytime/nighttime switches. It's dark when they battle Kristy outside, but when they try to keep her locked out of the house five minutes later, bright sunlight shines through the windows of the cabin. Another thing Stuertz should consider in the future, if he intends to continue making movies that is, is perhaps hiring a more professional editor, as his own work is this section is badly amateurish and pitiable. "Tonight She Comes" certainly delivers in the blood & gore department, but it is bloodshed of the most gratuitous and repulsive kind. The film is quite gross without ever being able to genuinely shock or frighten. Remarkable though, even if not a slasher, the best death scene of the entire film is a blatant copy/paste of one of the cruelest kills of Jason Voorhees in "Friday the 13th". I believe it was in part VI ("Jason Lives!") that he pulled the trick with the sleeping bag and the tree before.
A martfüi rém (2016)
Grim and unsettling serial-killer thriller from Hungary
"Strangled" is the international title of the Hungarian horror/thriller "A Martfüi Rém" which roughly translates as "The Martfü Monster" that is set in the politically turbulent period of the late fifties and early sixties, and is based on the true story of a vicious serial killer that terrorized a little industrial town. I reckon that every country has its own morbid serial killer case, and this is definitely one of the darkest pages in the history book of Hungary. "Strangled" is a very intense, stoic and grisly film and writer/director Árpád Sopsits certainly didn't bother to palliate the facts. In 1957, in the little community of Martfü where almost everybody works in the shoe factory, the corpse of a young woman is discovered in the river. The police are put under a lot of pressure to solve the crime and inspectors Botá and Katona quickly arrest the victim's weak and gullible boyfriend Akos Reti. When Reti confesses, he gets sentenced to life-imprisonment while inspector Katona gets promoted to district attorney. Seven years later, however, the mutilated bodies of multiple women are once more discovered in Martfü, and a few girls who narrowly survived the encounter with their attacker are scarred and traumatized for life. Botá receives a brand new, young and ambitious colleague who wants to re-open the 1957-case, because they may have convicted the wrong man to prison, but the district attorney Katona is too concerned about his reputation and obstructs the investigation. In parallel, the film depicts how Akos Reti literally decays in prison and even follows around the real murderer as he prepares for his next sickening and repulsive crime.
The film benefices tremendously from the gloomy time period and the sensitive political climate that both have been wondrously recreated! Practically the entire town of Martfü's population of Martfü comes walking out of the bombastic shoe factory gates. The people return to their tiny grey homes or depressing apartment blocks, while the more influential authority figures arrogantly refer to each other as "Comrade" and revert to corruption in order to save their slightly more luxurious social position. "Strangled" allegedly was a giant box-office success in its home country, which is surprising because the subject matter is extremely sinister and director Sopsits certainly doesn't restrain on showing uncompromising violence and misogynist cruelty. Many sequences are not for the squeamish, including bits of necrophilia, and the atmosphere is continuously bleak with eerie music and desolate photography. The film isn't entirely flawless, mind you. With 118 (!) minutes, "Strangled" is about 20-25 minutes too long. There are several moments of long silence between the lead characters, but those sequences are suspenseful and shouldn't have been cut. Instead, we could have done with fewer dialogues between the coppers about their cover- ups.