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Mutantz, Nazis and Zombies (2013)
A great collection of three fun, independent features
Mutantz, Nazis and Zombies, a collection of three films released through Troma Entertainment, is a delightful package of off-beat independent comedy films with a bent towards the horror genre. Consisting of "The Secret of the Magic Mushrooms" (dir. Christian Markhoff and Werner Timm,) "Attack of the Tromaggot" (dir. Leslie Teah,) and "Teen Ape vs. The Monster Nazi Apocalypse" (dir. Chris Seaver,) Mutantz, Nazis and Zombies is a hefty two-hundred and fifty minutes of daring, entertaining content. Just on the sheer length of the package you're guaranteed to find something you like in it, and more than that it's a valuable look at the true face of independent film today. While it's true that these films may not be everyone's idea of entertainment, if you're the type of person that enjoys the more shocking and controversial side of independent comedy, this is the release for you.
These three films, all of which are similarly campy in a self-aware manner, are all included together on this release because they are all of a certain creative mindset. These films all take a refreshingly transgressive approach to filmmaking: they are uncompromisingly bold in their imagery and content, witty in their senses of humor, and challenging in their choices of subject matter. Between a story about a young man who (drunkenly) tries to bring his friend back from the dead through the use of "magic mushrooms," a story about a giant mutated maggot who crawls out of toxic sewage to terrorize the city of Maggotown, and a story about a group of Paranormal Investigators (one of whom is an anthropomorphic Teen Ape) trying to stop an underground Nazi plot to bring about the Fourth Reich (through the use of monsters,) there's nothing conventional about the films in this collection, and of course that's part of their appeal. They're also arguably subtly-intelligent cautionary tales--regarding drugs, environmental pollution, and totalitarianism respectively--which refuse to take the easy way out in getting their points across. On the very surface, though, these are three entertaining films which come with their own unique sensibilities and very funny, often rude, humor.
Included in the release are several special features which make it an even more worthwhile disc to get your hands on, such as trailers for all three of the main features, a handful of trailers for other Troma releases, and two short films from the Troma catalog. The features themselves are of varying audio-visual quality, but none of them are in any way hard to watch or listen to. The packaging is simple and appealing, and the cover art makes it a great shelf piece for collectors, such as myself. The menu designs are clean and easy to navigate, in a manner that is typical of Troma's DVD releases.
In conclusion, Mutantz, Nazis and Zombies may not please everyone, but for fans of goofy, off-beat camp comedy with a daring, independent outlook, there are many things to be enjoyed on this disc.
The Taint (2011)
The Taint is AWESOME
In recent years, the trend of grindhouse revivalism has spread like wildfire throughout the fringes of the film industry. It seems like, since the Quentin Tarantino/Robert Rodriguez anthology film "Grindhouse" brought the term, and the style, back into view, contemporary takes on the cheesy, over-the-top spectacle of the midnite-movie fare of the 1970s and 80s have begun popping up with an increased frequency. This new crop of grindhouse features differs from the old guard--low-budget limitations have been augmented by a deliberate tongue-in-cheek attitude, a knowing irony that deconstructs the style as it lovingly pays homage. Sometimes, this knowing irony falls flat, becoming too self-aware and too self-referential to be funny--but in the best cases, it only improves the film in question, adding a deep dimension of comedy to the surface, creating greater capacity for laughs and spectacle than even the heights of the style's original peak period.
The Taint, directed by Dan Nelson and Drew Bolduc and distributed by Troma Entertainment, is a great representation of when this type of film is done right. With a plot that lends itself to untold hilarious possibilities (it envisions a society in which men have turned into twisted, misogynistic barbarians by way of a taint in the water supply,) some very clever writing, deliberately over-the-top scenarios, and aesthetic sensibilities that update the exploitation-shockers of old without appearing trite or handed-down, The Taint is an incredibly solid seventy minutes of tight, campy fun. It has humor that's as dirty as it is clever, imagery that's as shocking as it is hysterical, practical effects that amaze with their ingenuity, and an atmosphere that stays fresh and original even while putting its influences on display. With appropriately-tasteless male nudity, and plenty of blood and guts on display, it's certainly not for the faint-of-heart, but for lovers of modern grindhouse reinventions along the lines of Hanger, Hobo With a Shotgun or Father's Day, it's definitely a treat to watch. It may not appeal to most viewers out there, but if you're looking for some tasteless schlock that's surprisingly intelligent and extremely funny, The Taint comes highly recommended.
Purge (2010)
A rare treat: a unique dystopian science fiction film
Going into "Purge," a 2010 cyberpunk sci-fi flick distributed by Troma Entertainment, I didn't quite know what to expect. Outside of a hot chick on the cover and a prominently-featured positive quote from someone at a Dutch film festival, it looked like another low-budget exploitation film. Of course, they say don't judge a book by its cover, so to avoid doing that, I actually decided to watch it. Thankfully, I enjoyed "Purge" quite a bit, and although it might not be something to recommend to everyone, fans of films such as "Blade Runner," "Dark City," "Johnny Mnemonic" or "The Matrix" are sure to love this one.
The story is hard to explain: it concerns Layla, a BDSM mistress living in a world where all people are artificially created through genetic engineering. People go through their days, repressing any emotion other than happiness--to express any other emotion is seen as a malfunction in genetic programming, and punishment for doing so is severe. To avoid spoiling it for you further, I'll leave it at that, but clearly there's some depth to this one. Through all of the sex and gaudy futuristic imagery, it's a pretty clever premise, and it's matched by an intelligently-written screenplay.
It's not a perfect film--the quality of the acting is inconsistent, and it's clear that this film was done on a low budget. Nonetheless, it was clearly made with care and effort, and that care and effort shows through in the final product, even if it's not the best-looking movie around. The sound is as clear as one might expect from a micro-budget indie, and even though the picture quality is not perfect, it's clear enough so as to not be a real issue. Some of the special effects vary in quality--some work and some don't--but again, there's enough care and effort put in, along with some very clever concepts, that the quality of the effects isn't really much of an issue.
In conclusion: "Purge" is an interesting film. It may not be for everyone, but having grown up with "Blade Runner" and "Johnny Mnemonic," I enjoyed it a lot. It's a fine addition to the dystopian sci-fi genre and a unique film in its own right. If you have an interest in this kind of movie, "Purge" definitely deserves a place in your collection.
The Toxic Avenger (1984)
A fresh look at a cult classic!
NOTE: This review is specifically for the Japanese Cut, released on region 1 DVD in 2012
Anyone with any sort of familiarity with American independent cinema should know The Toxic Avenger, the gory 1984 cult masterpiece about a 98-pound weakling who falls into a vat of toxic waste, transforms into a superhuman monster hero, and makes it his one-man mission to clean up crime in Tromaville, NJ. In addition to preempting the modern craze of exciting, action-packed superhero movies, it also came with a unique style and sensibilities that created a perfect storm of a cult movie: tons of blood, gore, boobs and oddball comedy, along with a handmade look and creative special effects, make it a treat to watch to this day, even twenty-nine years later. Many people know and love Toxie, but not many people in the United States are familiar with the extended Japanese Cut of the film. For years it went unreleased outside of Japan, but now that it's out on DVD, American fans of the Toxic Avenger can enjoy it too.
How is it? Well, I was skeptical at first--after all, with a runtime difference of only four minutes, I was unsure of how different the films would actually be. Nonetheless, intrigued by the delightfully-campy DVD cover (Toxie atop a "rising sun," and the title in giant Japanese writing reminiscent of a Japanese monster movie,) and some new special features, the collector in me decided it would be a shame if I didn't pull the trigger on it. Long story short: I'm glad I did. I don't want to spoil the four minutes of extra footage, but they're well worth the watch--let's leave it at that. In addition, there are some alternate takes in the Japanese cut, and these alternate takes really add to the re-watch value. So, as a subtly different movie, it's worth watching for veteran fans wanting a breath of new life into an old favorite. For people uninitiated into the world of Toxie, though, this should be an obvious purchase. It's as fun as it's ever been, with plenty of goofy humor, raunchy imagery, blood and gore, and that midnight-movie style that's so unmistakable.
The transfer, unfortunately, leaves something to be desired. I think it's understandable, considering that, word has it, they were working with an old tape dub for a master. That in mind, it's certainly watchable, and the fuzziness of the picture doesn't take away from the viewing experience at all. Overall, it's a fun look at an American cult classic, edited for Japanese audiences, and then unearthed, anew, for American audiences to finally see. It's worth a look.
Killing Twice: A Deadhunter Chronicle (2007)
Surprisingly smart, beneath all the gore
Somewhere, a monster roams the halls of an ordinary high school--it stalks the students, kills them mercilessly, and leaves the school with no option but to get help. The Deadhunters, tasked with taking the monster down, must lock themselves in at the high school overnight with the very monster they hunt. Such is the basic plot of Killing Twice, a Spanish-language horror film directed by Julian Lara and released through Troma Entertainment. Released in 2007, and bearing the seal of a Stiges Film Festival official selection, this is certainly an indie horror movie to be paid attention to. With a visual style that recalls gritty horror-suspense films of the mid-to-late 1970s, and a flair for both dramatic tension and striking imagery that hearkens back to the works of John Carpenter and Dario Argento, Killing Twice is a great example of low-budget horror done right. It has loads of atmosphere, plenty of great character-building moments, and some excellent practical effects that really sell the premise, along with some excellent writing and a cast that works well within their skills and within the story at hand, making the best of what they have to use. It's an excellent addition to the collection of the horror fan who's seen it all, as well as being a great film for anyone looking for some high tension and good, fun scares.
The DVD, released by Troma Entertainment, is a high-quality package typical of their releases. The menus are easy to navigate and easy to look at (even though the music gets old after a while,) and there are some great special features included which really add to the value of the release, including a making-of featurette, an assortment of short films from Troma (including an excellent segment from Lloyd Kaufman's "Make Your Own Damn Movie" series,) and a selection of trailers for other Troma films. They're all worth watching, and definitely give you more bang for your buck on this release. The main feature itself looks very good--the picture is crisp and clean, being a recent film shot on good-quality cameras, and although the sound is occasionally muddy, the subtitles (the film was written and performed in Spanish) are clear and legible, making up for the somewhat-uneven sound quality.
In conclusion, Killing Twice is a clever twist on a classic concept, and more than that, it's executed with style, class and a subtle wit that contrasts with its outwardly-trashy facade. It's an example of how an independent film can engage in a challenging premise and still come out being entertaining, smart, and a real pleasure to watch.
Mr. Bricks: A Heavy Metal Murder Musical (2011)
Unique, exciting, surprisingly complex: Mr. Bricks is a sheer joy to watch
Mr. Bricks: A Heavy Metal Murder Musical, directed by indie newcomer Travis Campbell and produced/distributed by cult hit-makers Troma Entertainment, may be deceiving on a first look. With a DVD cover that screams campy horror-comedy and a title that says just about as much, one might expect just another cheap-and-cheesy exploitation film, light on story and heavy on gore and bare breasts. Having gone into Mr. Bricks with exactly those expectations myself, I'm here to tell you that it's much more than that. That isn't to say it isn't funny--it has a sharp, witty sense of humor. That also isn't to say that it doesn't have its fair share of gore and bare breasts--it certainly does, although frankly less than one might expect. It is to say, however, that Mr. Bricks is a gritty, entertaining, surprisingly-deep revenge story that's guaranteed to take you by surprise.
The story follows Mr. Bricks, a heavily-muscled tattooed madman, who wakes up with missing memories and a missing girlfriend after being shot in the head by a mysterious antagonist, and left for dead in his home. He takes it upon himself to look for Scarlet, his missing girlfriend, and to seek revenge on the man who shot him and, presumably, took her away. It may sound simple, but not everything is as it seems, and one twist after another keeps the story fresh and the pacing tight. I won't say anything more than that about the story, because it's really something worth seeing for yourself. Of course, we wouldn't have a musical without songs, and thankfully the musical numbers in Mr. Bricks are really what sets it apart from the rest of the pack. The primary style of song evokes mid-90s groove metal (eg. Pantera, Pissing Razors, Hatebreed,) although other styles are brought into the mix, including grindcore, Gothic rock, melodic hardcore and speed metal. The musical numbers are a real treat, and at times the songs lend themselves to a unique style of visual filmmaking more evocative of music videos than a typical film.
The movie brings with it a gritty atmosphere and a unique visual style, which is heavily-stylized and expressionistic, making use of desaturated colors, a highly mobile and very expressive camera, some very interesting shot composition, and an interesting mix of no-frills practical effects and digital special effects (blood splatters!) put in just the right places. From the opening title sequence through to the very end, it's a film with a compelling aesthetic. The aesthetic, though, wouldn't matter without the riveting story and the great performances from Tim Dax (Mr. Bricks) and Nicola Fiore (Scarlet,) who keep the movie fresh and entertaining with their deft combinations of subtle emotion and over-the-top camp sensibilities, which are a perfect match for the film. Additionally, the film is surprisingly complex and subtle in the way it handles moral issues (murder, revenge, suicide) and questions about the human condition (sexuality, notions of justice,) which add a certain level of depth to the movie beyond what one might expect.
Mr. Bricks: A Heavy Metal Murder Musical is an interesting, unique film which keeps things interesting by defying audience expectations and building a complex mystery with conflict that continues to grow throughout. It may not be a film to be taken seriously, but it's nonetheless surprisingly complex for a low-budget exploitation film that, in less-skilled hands, could have been decidedly less impressive. It's got a great look, a great deal of creative ambition, and a lot of effort put into it, and it clearly shows. It's absolutely worth a look.
Doomsday County (2010)
A fun, action-packed bit of neo-grindhouse glory
The film industry today is absolutely exploding with homages to the storied tradition of grindhouse cinema. Grindhouse cinema, a tradition focusing on sleazy, exploitative films with low-budget production values, gritty visual styles, and tendencies towards camp, schlock, gore, and sexual imagery that often borders on pornography, has a universal appeal towards the prurient interest which has been tapped into in increasing volumes over recent years, spurred on by releases such as the Tarantino/Rodriguez anthology film, appropriately titled "Grindhouse." Since then, films such as Father's Day, The Taint and now, Doomsday County, have capitalized on this revived interest in low-budget exploitation films to great success.
Doomsday County, a film directed by Art Brainard, Shawn Haran, Joe Badiali and Steven Shea, and released by Troma Entertainment in 2012, is yet another in a current rash of fairly excellent modern grindhouse films. It concerns a town overrun by zombies, vampires and aliens, and the effort of a few sane people to try and maintain order amongst all the chaos. It's every bit as campy as it sounds, and barring a few minor flaws (occasional technical issues mostly, including less-than-ideal sound production and the obvious downfalls of shooting on a shoestring budget,) it's a whole lot of fun. It has an appealing look and feel, updating the aesthetic of classic grindhouse films with sharp production and plenty of modern touches that, still, never feel too slick. It has some great practical effects, and is an excellent addition to the modern trend of grindhouse revivalism.
It would be enough if the feature itself was merely this entertaining, but in addition to that the release also has a high volume of very entertaining special features. Amongst these are several trailers for films by the creators of Doomsday County (three in total, not including the trailer for Doomsday County itself,) a handful of Troma-related extras, and outtakes from the feature. The quality of this extra content is high, and the special features, along with the main film, are more than enough to make this one worth a purchase. In addition, the release is very polished overall--the menus are clean and well put together, the box art is appealing, and everything fits together very well. Troma has gone above and beyond on this release and should be commended for its high quality.
In conclusion, Doomsday County is a better-than-average exercise in grindhouse revivalism that plays with the tropes of several genres, deconstructing and reinventing them along the way. It is fun, funny, fast-paced and consistently easy to watch, and it comes packaged with a good amount of high-quality special features that really make this release a valuable addition to any film buff's collection.
Cars III (2009)
Cars 3 is insane, distinctive and brilliant
Bobby Hacker, the creator and director of the "Cars" web series, of which the main film on this disc is the continuation, is something of a visionary in contemporary indie circles. Not only has he created content primarily for the online market, forgoing traditional distribution channels almost entirely (until this release,) but he's done so with a distinctive style and unique sensibilities that don't fit cleanly into any category and defy comparison with other works. The two are related, of course--forgoing traditional distribution allows Hacker to create more unique works, and conversely, his unique sensibilities are more suited to online distribution than they are to traditional markets--but that is really besides the point. The point is that Bobby Hacker's Cars 3 is awesome. Awesome in an off-beat, crazy, totally unique way where, if you weren't paying attention or if you didn't know what it was all about, you might end up totally confused.
In fact, even if you were paying attention, you might end up confused. That, however, is a tremendous part of its appeal.
Cars 3 is the story of one used car salesman's frantic, trippy adventure to sell a Mercury Topaz within one hour, to avoid losing his soul to the Devil. To say anything more than that would really do a disservice to the film, as well as to miss the point completely--the joy of Cars 3 isn't in the plot, it's in the execution. It's a wild ride, filled with absurd humor and an enthusiastic revelry in the idiotic, propelled by nothing less than unbridled insanity. It has a unique look, a unique feel and is full of unique performances and unique writing.
If you're worried that you'll be lost watching Cars 3 because you haven't seen the first two installments, fear not: they're both included on the disc as well, as special features. In fact, the disc includes a total of nine Bobby Hacker shorts outside of the main feature itself. These shorts are under titles such as "Jesus Sandals," "Roy Orbison's Bird S*** Fetish," "Dusty Desperados," and of course "Cars" and "Cars 2." In addition, there is a handful of trailers from Troma included on the disc, and the great extra content (listed under "Tromatic Extras") that we've come to expect from them. The entire package is completed by appealing menu designs which match the quirky personality of the films on the disc. The sheer volume of content included on this DVD would make it worth the purchase, not to mention the quality of the content. Cars 3 is funny, clever, unique, fast-paced and extremely entertaining, and it's bolstered by a bevy of extra content that can be described the same way. I can't guarantee that you'll know exactly what you've seen by the time it's over, but I can guarantee that, if you go into it with an open mind, you're bound to enjoy it a lot.
Hemo (2011)
Hemo is a smart, scary, sexy vampire movie that will take you by surprise
Vampires are sexy. This is the new paradigm of the world of contemporary horror fiction. We no longer live in a world where vampires are vicious monsters who want nothing more than to suck our blood--rather, our world is one where vampires crave love, experience lust, and...still want to suck our blood. Critics may wail and moan about this new turn in vampire lore, but the appeal and potential dimensions which the "vampires-are-sexy" trend has to offer cannot be denied. In the best case scenario, we get movies like Hemo, a little-known indie horror gem from 2010, which takes this common twist in vampire lore, adds a few fresh ones to the mix, and serves it up in a film which is scary, sexy, smart and very entertaining.
Hemo is the story of a group of modern-day vampires who, after being turned away from local blood banks, are forced to resort to murder in order to get their fix. That's all that should really be said about the movie, because to say any more would diminish the suspense and unique quality that this film has to offer. As can be seen, though, this is a vampire film with more dimension than is typically expected of the genre today. Vampirism is treated as a drug addiction more than it is a dietary necessity, which adds a depth and realism to it, and it often echoes shades of popular drug films from decades past, such as Trainspotting or Requiem for a Dream. In addition, a moral weight is added to the story by presenting it from the perspective of vampires who do not want to kill for blood, being forced into doing so by unfortunate circumstances beyond their control. There is more depth and heart to this film for those reasons alone than most vampire movies get out of merely adding a little sex appeal to their sharp-toothed antagonists. In addition, the film has a unique visual style, playing with color and lighting as tools of mood and content, and using a mobile, expressive camera to portray shades of emotional content as opposed to merely showing a narrative. The picture is a little jittery in places--a consequence of shooting on a low budget--but that does nothing to diminish the effort, talent, and artistry that went into this production.
The acting and writing in the film are surprisingly very good. Pamela Price, who plays Felicia, is a talented and appealing young actress who balances a subtle performance with a dark, unconventional sex appeal, and Steve Dash (who you may remember from Friday the 13th Part 2,) shines as the friendly neighbor who unwittingly pushes the protagonists onwards towards their eventual downfall. The director, Bob Freville, is new in the industry (Hemo is the first feature-length production for which he has a director's credit,) but he is technically accomplished and aware of the subtler elements of atmosphere, tone and aesthetic which really add life to this film. This is a fantastic example of a low-budget film done right.
Beyond the feature itself, the DVD is a very well-made and full-featured release, typical of Troma's home video output. In addition to a hilarious intro by Lloyd Kaufman (in which he uses the similarity of the title to the word "homo" as a way to show his support for gay rights, even if it's presented in a tongue-in-cheek manner,) and some excellent menu designs which are clean and easy to navigate, the disc comes packed with interesting and worthwhile special features. Among the special features on the disc are trailers, a "making-of" documentary for the main feature, "Of Bitches and Hounds" (a short film by director Freville,) and behind-the-scenes content. It is an excellent package and provides a lot of added value beyond the film itself.
In conclusion, Hemo is a unique and unexpectedly deep take on the vampire film in a contemporary setting. With a unique, dark atmosphere and numerous dimensions of moral consequence and emotional weight, it really took me by surprise, and I'm sure it will do the same for you. Check it out.