THE STRANGE VICE OF MRS. WARDH -- Blu-ray Review by Porfle

 

Originally posted on 6/13/20

 

I'm not as well-versed about giallo as the popular Italian genre's more fervent fans, so it's fun to run across a choice selection such as THE STRANGE VICE OF MRS. WARDH (Severin Films, 1971) and enjoy it to its fullest while discovering even more reasons why the best of these films are so much fun in the first place.

Lovely cult favorite Edwige Fenech (ALL THE COLORS OF THE DARK) stars as Julie, a sadly-neglected wife returning to Austria from America because her wealthy Wall Street tycoon husband Neil (Alberto de Mendoza, HORROR EXPRESS) has business there.

Julie, it turns out, has some business of her own, which is mainly to hesitantly fall sideways into a romantic tryst with persistent suitor George (George Hilton, ALL THE COLORS OF THE DARK) while avoiding former lover Jean (Ivan Rassimov, EATEN ALIVE), a first-class creep who had a sick relationship with Julie years ago and who may or may not be the razor-wielding, throat-slashing psycho killer currently terrorizing the city.

 
Julie's sassy best friend Carol (Cristina Airoldi) just happens to be George's cousin and is about to share with George a windfall inheritance from a recently-deceased uncle.

Not only is Carol a fun character who gets to speak her mind about everything, but she also throws a fun party (where Julie first runs into Jean again) which embodies the late 60s-early 70s ambience of the film right down to two party girls in paper dresses having a catfight in which they claw each other's clothes off. (Carol will also play a key role in one of the film's finest sequences, an eerie rendezvous with someone who may be the killer.)

What really gets the giallo juices flowing is when the mysterious killer suddenly and for no apparent reason takes a distressingly keen interest in Julie, right down to peering through the window during one of her naked romps with George and sending her flowers along with creepy, cryptic messages. Julie and husband Neil are convinced that the culprit is the already scary Jean. But is he too obvious a suspect?

 
Director Sergio Martino (ALL THE COLORS OF THE DARK) and co-writer Ernesto Gastaldi keep us guessing for the film's entire running time as we ponder the guilt or innocence of just about every main character besides Julie as evidence shifts back and forth and red herrings abound.

Meanwhile, we're treated to some murder setpieces that are both genuinely creepy and unsettling but also manage to generate Hitchcock-level suspense for sustained periods of time.

One in particular takes great pictorial advantage of a terrific outdoor location to present a stalking scene that is deeply nerve-wracking. And in each case, that gleaming straight razor is always poised for bloody carnage.

With Julie's guilt over cheating on her husband compounded by fear of her elusive stalker, even the story's romance elements have a queasy decadence that keeps us on edge.  This includes a flashback of Julie's sick affair with Jean, a beautifully shot, dreamlike passage with him slapping her repeatedly by the side of the road in slow-motion during a driving rainstorm.

Director Martino  is the equal to fellow Italian giallo maestro Dario Argento in such matters, perhaps not with as fine a degree of photographic artistry but driven by the same surehanded directorial finesse that creates memorably effective scenes. 

 
The Blu-ray from Severin Films is "newly scanned in 4k from the internegative" and boasts their usual well-stocked bonus menu including interviews with director Martino, co-writer Gastaldi, actor George Hilton, and, in archival footage, Edwige Fenech. There's also an audio commentary with Kat Ellinger, author of ‘All The Colors Of Sergio Martino’, a trailer, and last but not least a bonus CD of the film's lush, lively soundtrack music.

After putting us through the mill for the entire length of the film, THE STRANGE VICE OF MRS. WARDH ends on a shocking note, then pulls a fast one on us that's even more shocking and, ultimately, delightfully satisfying. It left me happy and content that once again a really good giallo had worked its magic on me.



Buy it from Severin Films

Special Features:

    Of Vice and Virtue: Interview with Director Sergio Martino
    Cold As Ice: Interview with Screenwriter Ernesto Gastaldi
    Vienna Vice: Interview with Actor George Hilton and Italian Genre Historian Antonio Bruschini
    Archive Interview with Actress Edwige Fenech
    Introduction by Actor George Hilton
    Audio Commentary with Kat Ellinger, Author of ‘All The Colors Of Sergio Martino’
    Trailer
    CD Soundtrack [Limited to 3000 Units]
    The Strange Vice of Mrs. Wardh Comic Book [WEBSTORE EXCLUSIVE]

 

THE STRANGE VICE OF MRS. WARDH -- Blu-ray Review by Porfle

MURDERLUST (w/ PROJECT NIGHTMARE) -- DVD Review by Porfle

Originally posted on 1/14/17

 

One of the joys of movie watching is discovering new (to me anyway) low-budget filmmakers with a knack for turning straw into gold.  Or at least making the straw look better.  1985's serial killer thriller MURDERLUST (like its Intervision DVD companion PROJECT NIGHTMARE) is very good straw. 

Here, two very independent filmmakers--writer/director Donald M. Jones and writer/producer James C. Lane--have joined their noteworthy talents together to concoct a viewing experience which, while not exactly something to write home about, is admirably well-rendered considering that the budget was around $30,000.  That includes shooting on 35mm film, which in the pre-digital days ate up budgets like Homer Simpson going through a box of donuts.

In their script, which was begun by Jones and completed by Lane, Eli Rich (THE JIGSAW MURDERS) plays Steve Belmont, whose activities at the local church (he teaches Sunday School and counsels troubled kids) mask the fact that he's a vicious serial killer in his spare time.

Steve actually leads a triple life, since in addition to these two sides of his personality there's a third--that of a surly working stiff whose real jobs are marred by extremely disrespectful and irresponsible behavior.  When he isn't planning his next kill or being Mr. Nice Guy at the church, he's telling off his boss, trying to cajole his landlord to extend his rent deadline, or soaking his straight-laced cousin Neil (Dennis Gannon) for loans and favors. 

Interestingly, it's the non-serial-killer stuff that MURDERLUST spends the most time on.  In fact, the film is more about how Steve struggles to maintain his everyday life and keep up his clean image at church than about his homicidal activities.  So those looking for blood and gore or a series of graphic, cinematic murders for their own sake will likely find much of this story rather slow going.  Maybe even boring.

But if you get caught up in Steve's story then that should be sufficiently involving.  His standing at church is threatened when a disturbed young girl accuses him of inappropriate touching (of which, surprisingly, he's innocent) and a chance encounter with a fellow member who professes her secret love for him (Rochelle Taylor as "Cheryl") has Steve thinking that maybe he has a chance for a normal life after all.

"Normal", however, just isn't in Steve's makeup, and he keeps returning to what he does best, which is luring women into his apartment or his "creep" van, dispatching them, and then driving them out to the desert to dump the bodies.  (He'll eventually be known by the press as the "Mohave Murderer.")

Jones stages the murder scenes pretty matter-of-factly, without lingering over any of the details or indulging in anything gratuitous.  It's the drama and suspense that occur between these scenes in this leisurely-paced character study that he and co-writer Lane are concerned with.  That, and delivering as good-looking a film as they can for their meager budget.

This is where Jones' knack for solid, economical staging comes to the fore, with the help of a highly capable cast led by the talented Rich as our anti-hero Steve.  Producer Lane also adds his valuable expertise in various technical aspects (camerawork, lighting, sets, etc.) as well as pulling off some beautiful helicopter shots in the desert which he describes in detail in his informative commentary track.

As you can probably guess, Steve's veneer of normalcy comes crashing down around him in the film's climax, as his true nature is revealed to a horrified Cheryl.  Even here, though, the main goal of MURDERLUST is to draw us into its story rather than shock us.

I found MURDERLUST to be involving, if perhaps a bit overly low-key, and was interested to see how it had been put together with such limited resources.  (Watching it along with Lane's detailed commentary is especially enlightening.)  Stalker-slasher fans in the mood to be thrilled and horrified, however, will likely deem it a yawner.



The second film on the disc is Jones and Lane's first feature effort, PROJECT NIGHTMARE, which finally found distribution in 1987 after some of their subsequent films had already been released.

With an even lower budget and a soundtrack in which all the dialogue was looped, the film manages to look better and, in my opinion, present a much more intriguing "Twilight Zone"-esque story.

The brash, outgoing Jon (Seth Foster) and the quiet, introspective Gus (Charles Miller) are two old friends whose camping trip in the mountains is interrupted when a strange, unknown force begins to chase them through the woods.

Seeking shelter in a secluded cabin, they meet Marcie (Elly Koslo), a strangely accomodating woman who not only trusts them implicitly on sight but quickly falls for Gus, whose feelings are guarded but mutual.

After a series of vain attempts to return to civilization, all three eventually find themselves fleeing the mysterious force and end up stranded in the desert.  Several events bordering on the supernatural occur, but after Gus finds his way down into an underground bunker, he discovers the true origin of all the strange occurrences that have been plaguing them.

Up to this point PROJECT NIGHTMARE has been having a ball leading us through a maze of inexplicable twists and turns which it must now labor to explain.  Thankfully, the ending isn't one of those copouts that leaves us hanging, and the resolution to all the mysteries consists of some pretty interesting science fiction for us to wrap our heads around.

Technically, the film is thoughtfully directed by Jones and is rife with great outdoor locations that are well-photographed in 35mm. The underground facility betrays its low budget at times but not really to the film's detriment.

A nightmare sequence early on is quite expertly conceived and edited, ending dramatically with a series of still shots timed to a pounding heartbeat.

With a combination of "Twilight Zone", "The Outer Limits", and, according to Lane in his commentary track, FORBIDDEN PLANET, the story manages to maintain our interest throughout.  This is helped in no small measure by a very capable cast.

Despite playing second fiddle to MURDERLUST on this Intervision double-feature disc (whose bonus features consist of the two James Lane commentary tracks and a MURDERLUST trailer), I consider PROJECT NIGHTMARE the more interesting and rewarding of the two features.  Together, they make for one very worthwhile DVD which I found richly entertaining.

MURDERLUST (w/ PROJECT NIGHTMARE) -- DVD Review by Porfle

TENEBRE -- DVD Review by Porfle

 

 Originally posted on 5/8/08

 

I'm a Dario Argento fan but have yet to see all of his films. So it was a real treat to get the chance to watch TENEBRE (aka TENEBRAE), the Italian director's 1982 return to the giallo style after a detour into the supernatural (SUSPIRIA, his masterpiece, and its follow-up INFERNO). According to Wikipedia, "giallo" films are typically slasher-style whodunits characterized by "extended murder sequences featuring excessive bloodletting, stylish camerawork and unusual musical arrangements", which would make this a prime example of the genre.

Tony Franciosa plays Peter Neal, a murder mystery writer who's just arrived in Rome to promote his latest book, "Tenebrae", only to find that a serial-killing stalker is using his new novel as a template for ridding the world of sexual deviates and other undesirables. With the help of his secretary and budding love interest Anne (Argento collaborator and former spouse Daria Nicolodi) and eager young assistant Gianni (Christian Borromeo), Neal hopes to add a feather to his literary cap by solving the real-life murder mystery himself as bodies begin to pile up. The arrival in Rome of his spurned ex-lover Jane (Veronica Lario) and the presence of a television journalist named Berti (John Steiner) who appears to be a little too obsessed with Neal and his writings are just two of the many pieces in Argento's jumbled jigsaw puzzle.

One of the first things I noticed about TENEBRE is how bright it is. Much of it takes place in broad daylight, while the night scenes are often overly-lit. Argento has stated that he wanted the film to look hyper-realistic, with no shadows for either the victims or the killer to hide in. It's an interesting stylistic choice that Argento uses effectively. The often light-bleached visuals and pallid settings also allow him to emphasize certain elements such as a woman's fire-engine red pumps or the gouts of blood that liberally decorate several moments of terror.

Some of my favorite Argento touches are well-represented here, including: a haunting flashback, the details of which are only gradually revealed to us (not unlike Harmonica's recurring childhood memory in ONCE UPON A TIME IN THE WEST, which Argento co-wrote); characters not picking up on an important visual or aural clue until it suddenly occurs to them after much reflection, as in the "three irises" scene from SUSPIRIA or the mysterious painting in DEEP RED; and several POV shots that disconcertingly put us in the killer's shoes as he (or she) is on the prowl.

As usual, Argento uses sound very effectively. In particular, he shares something in common with singer Nick Lowe--he loves the sound of breaking glass--so if you see a plate glass window in this movie, chances are it's going to shatter when you least expect it. Argento uses such devices to make his murder sequences even more nerve-wracking than they already are, usually after some very careful buildup and a few fake-outs to keep us off guard. And when the killer strikes, it's disturbingly violent. But unlike the standard slasher bore such as FRIDAY THE 13TH, Argento is more interested in the imaginative cinematic depiction of violence rather than simply racking up outlandish yet by-the-numbers body counts. When he does go for the gore, it shocks us, and it happens to characters that we care about and for reasons that keep the story moving.

Oh, and speaking of nerve-wracking, Argento managed to reunite three members of the disbanded rock group Goblin (Claudio Simonetti, Fabio Pignatelli, and Massimo Morante) to supply the original score. Unlike their music for SUSPIRIA, this has a synth-heavy, somewhat cheesy 80s sound that seems to be influenced at times by Giorgio Moroder's drum-machine disco rhythms. Other passages resemble their music for George Romero's DAWN OF THE DEAD. But it has that unmistakable Goblin sound, which somehow manages to compliment Argento's style even as it's turning your eardrums to mush.

Tony Franciosa is an old pro who did a lot of television while I was growing up, in addition to appearing in scores of fun films (a year after this, he got to do a steamy love scene with my favorite actress, Isabelle Mejias--the lucky dog--in the lively Canadian thriller JULIE DARLING). John Saxon, who plays Peter's literary agent, is, of course, always a welcome presence, and Veronica Lario is very effectively creepy as Jane. The rest of the cast is good, too--I especially liked Giuliano Gemma and Carola Stagnaro as a pair of homicide detectives--although in most cases the dubbing makes it hard to fully appreciate their performances. Daria Nicolodi does her usual fine job as well.

There are some really nice-looking women in lesser roles, adding considerably more sex appeal than you usually find in an Argento film. Ania Pieroni appears briefly as a lovely kleptomaniac who uses sex to beat a shoplifting rap but can't escape the fate awaiting her when she gets home. Lara Wendel plays a lesbian magazine writer whose promiscuous, half-naked housemate is the heart-stoppingly gorgeous Italian model Mirella Banti, in a sequence that allows Argento to indulge his stylistic impulses to their fullest.

Most interesting of all, perhaps, is the casting of Eva Robins as a woman who appears in several strange flashbacks to a traumatic event in the killer's youth. Born a male, Robins reportedly began to develop breasts and other female characteristics during puberty, to an extent that convinced her that nature intended her to live as a woman. At any rate, she's convincing enough as the "girl on the beach" in some of the film's strangest scenes.

The new DVD from Anchor Bay features an uncut, remastered widescreen (1:85:1) transfer enhanced for 16x9 televisions. Aside from the trailer and an Argento biography, there's a commentary track featuring the director along with composer Claudio Simonetti and journalist Loris Curci, which is as informative as you might expect although much time is spent waiting for Argento to figure out how to say everything in English--I kinda wished it could have been in Italian with English subtitles. "Voices of the Unsane" is a nifty 17-minute featurette with Argento, Nicolodi, Simonetti, and other principals discussing the making of the film. (UNSANE was the retitled, badly-edited version first shown in the US.) Other brief featurettes explore the creation of TENEBRE's sound effects and the filming of an intricate extended shot featured in one of the murder sequences. All in all, not a bad array of extras.

It's interesting to see Argento eschew the sumptuous, fairytale look of SUSPIRIA for a more stark and austere style here. Without the dark shadows and saturated colors, TENEBRE is like a blank canvas splattered with bright red, with a realism that's as brittle and sharp as all that broken glass. Only when the killer's identity is revealed at last in an axe and straight razor-slashed finale do we get a really dark, lightning-streaked scene, and it's horrifying enough to warrant the seemingly never-ending screams of the last person standing as TENEBRE fades out into its closing credits. And if you're a Dario Argento fan, you'll definitely want to be there when it happens.

TENEBRE -- DVD Review by Porfle

The Classic Party Scene From "Dead Kids" (aka "Strange Behavior") 1981 (video)

 

As "Strange Behavior", this intensely atmospheric horror flick was a Cinemax fave.

Years later we got to review it under its original title, "Dead Kids", and it seemed better than ever. 

The cast is amazing, including Dan Shor ("Tron"), Marc McClure ("Superman"), Dey Young, Louise Fletcher ("One Flew Over The Cuckoo's Nest"), Fiona Lewis ("The Fury"), and Michael Murphy ("MASH"). 

Here's the classic party scene which features the song "Lightning Strikes Again" by Lou Christie.

 

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

 

The Classic Party Scene From "Dead Kids" (aka "Strange Behavior") 1981 (video)

JACK THE RIPPER (1959) -- Blu-ray Review by Porfle

 

Originally posted on 4/25/22

 

I saw JACK THE RIPPER (Severin Films, 1959) on TV as a kid in the 60s, and the thing I remember most is the horrific elevator scene at the end.  Sure enough, that memorable moment is right here in my long-overdue rewatch, and, although the rest of the film is in glorious black and white, that final ghastly image is in living, bloody color.

At least, it is in the US version. Severin's Blu-ray release has both this and the original British version, the rights of which were purchased for release in the States by famed film entrepreneur Joseph E. Levine (HERCULES) and jazzed-up (literally) with a new musical score, a teasing voiceover intro by Paul Frees inviting us to solve the mystery of Jack the Ripper ourselves while watching the film, and other small touches here and there including that color shot.

The film's original elements are gone, so Severin has assembled the best looking prints of both versions with the elements available.  The British director's cut, which is in 1.33:1, is near-pristine and quite lovely, while the US print (1.66:1) is considerably more worn.

This, however, is a plus for me, as my frequent readers will know.  I love a print that looks like it has been around the block a few times--it's a nostalgia thing, and a big reason why I love PLANET TERROR so much.

The story itself is a taut, wonderfully compelling fictional account by screenwriter Jimmy Sangster (CURSE OF FRANKENSTEIN, HORROR OF DRACULA) of the famous tale about mysterious serial killer Jack the Ripper's six notorious and very brutal slayings of prostitutes in London's Whitechapel district in 1888, a case that was never solved.

Here, London police inspector O'Neill (Eddie Byrne) and his American friend, Detective Sam Lowry (Lee Patterson) stay one step behind the killer's trail of ravaged bodies found in back alleys, their deaths apparently the work of a surgeon or other person with knowledge of anatomy and surgical tools.

Seeking advice from medical experts leads them to a hospital where we meet some of our main suspects--chief surgeon Sir David Rogers (Ewen Solon), aging and possibly over-the-hill Dr. Tranter (John Le Mesurier), surgical assistant Dr. Urquhart (Garard Green), and facially-disfigured hunchback (and thus chief suspect in the film's publicity) Louis Benz (Endre Muller), who tends to the surgical instruments during operations.

The atmosphere in the district is heated and volatile, with mobs of angry and often drunk men ready to form at a moment's notice to hunt down anyone even slightly suspected of being the ripper, resulting in a few tense sequences.

This mood is exacerbated by the sometimes claustrophobic nature of the film's stagebound sets (at Shepperton Studios), which are otherwise ideal for establishing the 19th-century setting filled with grimy cobblestone streets and dark, foggy alleyways where dastardly deeds are performed in the shadows.

In contrast to these are the bright music hall scenes that are alive with period frivolity including a raucous can-can dance sequence and a clash between some posh visitors on the prowl for a good time and a naive young dancing girl who didn't realize this was part of her job description. When she gets wise to her companion's intentions, she flees into the night and right into the clutches of the mysterious stalker.

Production, direction, and photography are all credited to Robert S. Baker and Monty Berman, who stage each scene in a just-right way that, unless I'm mistaken, was an inspiration for some of the visuals of the later version, FROM HELL.

The black and white cinematography is exquisite, and the music in both versions very good. I enjoy the brash Jimmy McHugh and Pete Rugolo score (I had the 45 rpm single of the main theme at the time) while some might prefer the more stately original by Stanley Black.

The cast is top-notch, delivering Sangster's snappy dialogue with aplomb.  The romantic angle between Detective Lowry and Dr. Tranter's beautiful, plucky ward Anne (winsomely portrayed by Betty McDowall), who works at the hospital, is well-handled.

The main draw, of course, is the sick thrill of Jack the Ripper's horrific murders (some shockingly staged for 1959) and the increasing urgency for our detective heroes to put a stop to them.  In the exciting finale, the killer finally tracks down the woman he's been searching for (each murder begins with him asking, in creepy, sotto voice, "Mary Clark? Are you Mary Clark?") and then menacing Anne herself as Lowry races to her rescue.

The Blu-ray from Severin Films is in 2.0 English mono sound and 1080p full HD resolution.  The British version has English subtitles while the US version does not.

Besides the two versions of the film, extras include the US trailer, photo and poster gallery, alternate "continental" takes which contain nudity, an essential interview about the film with author Denis Meikle ("Jack the Ripper: The Murders and the Movies"), and a history of the case entitled "The Real Jack the Ripper." Last but not least is a commentary track with Robert S. Baker, Jimmy Sangster, and assistant director Peter Manley, moderated by film historian Marcus Hearn.

JACK THE RIPPER is moody, atmospheric black and white 50s-style horror entertainment at its best, sharply-rendered in all aspects and a real treat for genre fans.  And there's a reason that elevator scene stayed in my memory for over half a century--it really tops off the movie in shocking style.


Buy it from Severin Films

Special Features:
British Version
US Version
Audio Commentary With Co-Director/Co-Producer/Co-Cinematographer Robert S. Baker, Screenwriter Jimmy Sangster, Assistant Director Peter Manley, Moderated By British Horror Historian Marcus Hearn
Alternate Continental Takes
Interview With Denis Meikle, Author of “Jack The Ripper: The Murders And The Movies”
The Real Jack the Ripper Featurette
Theatrical Trailer
Poster & Still Gallery

JACK THE RIPPER (1959) -- Blu-ray Review by Porfle

WTF! -- Movie Review by Porfle

 

Originally posted on 7/22/17

 

It isn't often that your run-of-the-mill teen slasher pic actually defies and/or exceeds expectations, but WTF! (2017) lives up to its title by doing just that.

Not that it reinvents the wheel or anything.  It's just that debut director and co-writer Peter Herro has managed to toss in all the familiar ingredients and whip up something that doesn't taste like the same old microwaved mess.

Perez Hilton's cameo is, thankfully, brief, as he yells "F***ing spring break, pussies!" at a pool party (perfectly setting the film's early tone) and tries to be Steve-O for five minutes before disappearing.  (Yay!)

Then, it's off to a secluded cabin in the woods for our cast of bratty young party-hearty-ers and a fun-filled weekend of alcohol, weed, sex, skinny-dipping, and death.

(Oh, and just to get a couple of things out of the way to begin with -- there's no Wi-Fi and no cell phone service.)

All the stereotypes are here and then some, along with many of the familiar tropes (including the gas-station hick who warns the kids to "stay away from that place") which, by now, are so comforting that we sort of welcome them.

In fact, this movie wants to be predictable so that it can play around with, and sometimes bend, all our expectations.  Not to mention the fact that letting go and indulging in all the foolishness this genre has to offer, if done right and with tongue firmly in cheek, can be fun.

WTF! does just that by being a nicely-filmed self-parody pretending to be a serious horror flick.  The kids inhabit their roles to the hilt--the spoiled rich girls, the horny frat boys, the various loners (final girl, sensitive boy, etc.)--and actually play them with conviction.

This is especially true once it finally dawns on them that party time is over and the gore has hit the fan.  It's rare, but in this case the ensemble acting actually improves once the cast are expected to emote their heads off.  They're terrific, in fact, as is Herro's direction. 

Not only that, but after some pretty brutal kills, there's a nifty twist that I didn't see coming.  Or rather, I sorta saw it coming but not quite from that direction.  "WTF!", indeed. 

WTF! -- Movie Review by Porfle

DRIVE-IN MASSACRE -- Blu-ray Review by Porfle

 (Originally posted 2/27/2017)

 

When a movie is described as "so bad, it's good", often the "it's good" part is solely up to the charity and goodwill of the viewer.  If you simply don't like bad movies at all, chances are DRIVE-IN MASSACRE (1976) won't appeal to you at all.  But if you qualify as a bonafide junk-film junkie, then this no-budget little effort will likely tickle your fancy in a big way even though, at times, it really does tend to get just a tad dull.

What it mostly does for me is to let me indulge in some good old-fashioned nostalgia and wallow in hazy, golden memories of things like drive-in theaters (natch), renting obscure VHS horrors from the local hole-in-the-wall video store (which is how most people probably first caught this one), and reliving those crazy wonderful early days of slasher flicks before the genre wore itself out through sheer repetition.

Like BLACK CHRISTMAS and THE TOWN THAT DREADED SUNDOWN (and before HALLOWEEN and FRIDAY THE 13TH), DRIVE-IN MASSACRE was right there on the ground floor of the slasher era, when poor but plucky filmmakers were still making up the rules and flying by the seat of their pants.

Here, of course, most of the film's shortcomings--limited funds, rushed schedule, less than stellar acting and dialogue, crude gore effects--are, in hindsight, what makes it so endearingly fun to watch. 

And speaking of gore, there's considerably less here than in the average H.G. Lewis movie, but what there is scores major fun points.  My favorite is the guy who leans out his car window to snag a speaker and gets his head cleanly lopped off by a samurai sword. 

Most of the kills happen to people sitting in their cars watching the drive-in movie, including a double skewering (later reprised in FRIDAY THE 13TH) and a sword through the throat which elicits a wonderfully expressive reaction from the actress (that's her on the poster).

While semi-competent police detectives Leary (co-scripter John F. Goff as "Jake Barnes") and Koch (Bruce Kimball as "Michael Alden") bumble their way through the murder investigation in seriocomic style, suspects include foul-tempered drive in manager Austin (Robert E. Pearson as "Newton Naushaus") and feeble-minded janitor Germy (Douglas Gudbye)--both of whom happen to have carnival experience working with knives and swords! 

(Note: all the cast aliases have something to do with SAG rules.)

There's also a perv named Orville (Norman Sheridan as "Norman Sherlock") who likes to creep around from car to car, peering in at the more amorous couples and--err--"gratifying" himself.  While we're busy keeping up with all the potential suspects and red herrings, much screen time is devoted to those couples yakking away (some of the dialogue is amusing) while the guy tries to score. 

Not all the action is confined to the drive in, however.  In addition to scenes of the two cops grilling people at the station or running down (literally) suspect Orville who flees an interview at his house, there's a lengthy detour in which another likely candidate gets cornered in a warehouse while holding a young girl hostage.

This nutty-looking psycho is none other than familiar character actor "Buck" Flowers (ESCAPE FROM NEW YORK, THE FOG), who, it turns out, co-wrote the screeplay along with Goff and director Stu Segall (as "Godfrey Daniels"). 

Buck's hostage here is his own daughter Verkina Flowers, and the cat-and-mouse sequence that follows her escape, while nominally entertaining, seems most likely intended to pad out the running time. 

This is also true of a long interlude in which former carnival geek Germy wanders through a brilliantly-lit carnival at night for several minutes while dialogue from earlier in the film wafts through his mind.

While the scene serves little purpose, it's beautifully photographed (looking particularly good in Blu-ray) and offers yet more nostalgia value, this time for the days when a carnival was just about the most fun place I could imagine being at.  Besides a drive-in, of course.

The Blu-ray from Severin Films (which boasts a cool reversible cover) is widescreen with 2.0 English audio and optional English subtitles. Severin comes through again with some cool extras which include an informative director's commentary, a trailer, and recent interviews with star/co-writer John Goff, actor Norm Sheridan, and director Segall. Despite some occasional imperfections (or, in my case, because of them), the picture is a joy to behold.

Many people, of course, will have no idea why this cheap little gore flick would appeal to anyone at all.  But if you're one of those to whom the very sight of the cover of DRIVE-IN MASSACRE elicits a giddy tingle of excitement, no explanation is necessary.  It's just plain fun, period.

DRIVE-IN MASSACRE -- Blu-ray Review by Porfle

COLD PREY -- DVD Review by Porfle

 

Originally posted on 1/18/09

 

Another throwback to the old stalker-slasher tradition, the Norwegian thriller COLD PREY, aka FRITT VILT (2006) concentrates less on graphic violence and gore than simply trying to keep us on the edge of our seats. It's familiar stuff, and quite predictable, yet it still manages to be a fun and entertaining spookhouse ride.

The gang of young victims-to-be follows the same template as, among other films, both versions of THE TEXAS CHAIN SAW MASSACRE. There's the hero couple, Jannicke and Eirik, who are responsible and level-headed; the make-out couple, consisting of cute, immature dude Mikal and dumb-blonde babe Ingunn; and finally, the fifth-wheel loner Morten, who playfully admits to having an intense love affair with his own hand.

While everyone else is crowding into packed ski resorts, Eirik whisks the gang off to a remote mountain location for some snowboarding, despite recent news reports of a rash of skier disappearances in the area (like, around 110). It only takes Morten about a minute to break his leg, and, wouldn't you know it, nobody can get a signal on their cell phones. Jannicke, quickly asserting herself as the most useful member of the group, sets the broken bone herself and then spies an abandoned hotel in the distance where they can hole up for the night. All of this occurs within the first fifteen minutes, so it's clear that this movie is wasting no time moving things right along.

The secluded hotel itself is an awesome actual location that helps to give this familiar story its own unique feel. Made to look old and disused, it has plenty of long, dark hallways, creepy basements, and other cobwebby nooks and crannies that are just right for a mysterious killer to lurk around in. Director Roar Uthaug keeps the tension taut as one by one his hapless characters find themselves alone in various parts of the building, gradually realizing that they're being stalked. When all hell finally breaks loose, an exhilarating level of suspense is maintained to the very end, punctuated by some pretty effective jump scares. And since we don't really care all that much about most of these characters, it's generally a fun experience rather than a dark and disturbing one.

This good-looking film is slickly directed and photographed and has plenty of chilly, gloomy atmosphere but surprisingly little gore. The cast is capable, especially Ingrid Bolsø Berdal as Jannicke, whom I'd definitely want to have along if I were in a similar predicament. Her character is brave and resourceful--she coolly Super-Glues the gaping wound on Morten's leg shut--while at one point allowing herself a rather stunning act of cowardice that somehow makes her a bit more believable. As Ingunn, Viktoria Winge lends the film what little sex appeal it has as she runs around in her skimpies while avoiding the killer's pickaxe. Among the male leads, Rolf Kristian Larsen is the most noteworthy as Morten. The killer himself is pretty generic, and is most effective when off-camera.

The DVD image is 2.35:1 anamorphic widescreen, with Dolby Surround 5.1 for the Norwegian soundtrack and 2.0 for the English one. You'll probably want to listen to the Norwegian soundtrack with subtitles after getting a load of the bad English dubbing, which sounds kind of like the Disney version of a Miyazaki cartoon. Somehow I don't think Norwegian translates very well to English, or at least not in this case.

A generous helping of extras includes: an alternate ending with shots from the movie augmented by storyboards; a making-of featurette; brief looks at the visual FX, sound design, and other aspects of the production; the evolution of the opening car scene, from rehearsal to final editing; eight minutes of bloopers (some of which lose a little in translation); two short films; a music video; and trailers and TV spots.

COLD PREY doesn't really offer anything new to those of us who have seen our share of slasher movies, and, lacking any real emotional depth or memorable moments, is soon forgotten after the fadeout. But with its atmospheric setting, likable characters, and frantic pace, it holds up well as a crisply-executed and chillingly suspenseful thriller.

 

COLD PREY -- DVD Review by Porfle

SILENT NIGHT, BLOODY NIGHT -- DVD Review by Porfle

Originally posted on 12/4/13

 

A mix of the "spooky old house" and "axe murderer on the loose" genres, SILENT NIGHT, BLOODY NIGHT (1972) is hardly the campy-fun slasher-trash fest I expected.  In fact, there isn't an ounce of humor, intentional or otherwise, in this somber, wintry horror tale.

The gravely-intoned prologue, in which the Mayor's daughter Diane Adams (Mary Woronov, EATING RAOUL, ROCK 'N' ROLL HIGH SCHOOL) reflects on  the horrible events surrounding the old Butler mansion at the edge of town, is enough to let us know that we're in for a depressing time,  It all has to do with the house's original owner, Wilfred Butler (Philip Bruns,  "Mary Hartman, Mary Hartman"), his mysterious death by fire, and the tragic fate of his daughter, Marianne. 

When his grandson Jeffrey (James Patterson, IN THE HEAT OF THE NIGHT) disobeys the stipulation in his will that the house remain untouched and unsold, a mysterious killer begins stalking the premises to make sure that whoever goes in doesn't come out.

Cue Jeffrey's lawyer John Carter (a typically urbane, laid-back Patrick O'Neal) and his secretary-slash-mistress Ingrid (the way-cute Astrid Heeren),  who decide to spend a night in the house while finalizing the details of its impending sale.  As if this isn't enough to stir things up, Jeffrey himself returns just in time to endure a night of murder and mayhem that will leave the quiet little town littered with corpses.  His uneasy alliance with Diane will result in them ending up right in the middle of the film's horrific climax. 

The confusing story will eventually yield a nice surprise or two, but it's basically just an excuse for the filmmakers to see how much of a dreary and oppressive gloom 'n' doom atmosphere they can muster with their low budget and limited resources.  Mary Woronov's husband Theodore Gershuny, who directed two other films and several episodes of TV shows such as "Tales From the Darkside" and "The Equalizer", helms Jeffrey Konvitz and Ira Teller's funereal screenplay in a crudely effective fashion.  The film's rough-hewn production elements and choppy editing alternate between being distracting and somehow enhancing its dreary mood.

Once the killer stops creeping around unseen and gets the old axe a-swingin', we get a few mildly gory chop-'em-up scenes with some fake blood splattered about, along with a dismembered hand or two.  These moments of mayhem, however,  come after long, mundane stretches that are interesting only if you enjoy watching a very old John Carradine (and who doesn't?) or a very young and attractive Mary Woronov (ditto).  Distinguished actor James Pattererson, who died at age 40 shortly after this film was made, comes off well despite an understandably uninspired performance. 

Similar in feel to Bob Clark's 1974 BLACK CHRISTMAS, with the dreariest version of "Silent Night" you can imagine and a score that's almost more downbeat than Bernard Herrmann's music for PSYCHO, the best of SILENT NIGHT, BLOODY NIGHT is saved for its centerpiece flashback sequence.  As Diane reads from Wilfred Butler's tattered journal, we're transported into a grainy, sepia-hued world that's so dark and depressingly surreal as to be almost a cross between David Lynch and H.P. Lovecraft. 

This vignette occurs during the time the Butler house served as an insane asylum, with the inmates being let loose to wreak revenge upon their cruel keepers, and is so fascinatingly, unremittingly nightmarish as to seem like part of a different film altogether.  Afterwards, the story's actual ending comes as something of an anti-climax despite director Gerhuny's efforts to build to a shocking finale that he isn't quite able to pull off. 

The DVD from Film Chest is in widescreen with 2.0 sound.  No subtitles or extras.  Opening titles (featuring the alternate name "Deathhouse") bleed off the sides of the screen a bit.  The film is an HD restoration from 35mm elements but the print used has several rough spots.  Personally, I like it when a film looks like it's been around the block a few times, but those wanting something closer to pristine may cringe a few times. 

Movies like SILENT NIGHT, BLOODY NIGHT straddled some interesting cinematic territory between old-style Gothic horror and slasher-era gore while inadvertently helping to lay the groundwork for the tired "dead teenager" formulas of the 80s and 90s.  While unpolished and at times technically crude, it still manages to create an extremely effective and unrelievedly depressing mood (definitely not recommended for the suicidal) with atmosphere to burn. 

SILENT NIGHT, BLOODY NIGHT -- DVD Review by Porfle

RED CHRISTMAS -- Blu-ray Review by Porfle

Originally posted on 10/17/17

 

We reviewed a barebones advance screener for RED CHRISTMAS back in August (see below) but today (October 17) it comes out on Blu-ray from Artsploitation Films and we've gotten the opportunity to take a gander at it. 

This seasonal slash-em-up is about a highly dysfunctional family (with America's sweetheart, Dee Wallace, as the harried matriarch) getting together like oil and water for an unconventional Christmas celebration with a surprise guest--Cletus, Mom's aborted fetus that survived, grew up, got real crazy, and is now out for either familial love or ruthless revenge, whichever comes first.

Needless to say, it's a raucous affair that serves to bring the disparate family members together at last, even as they're getting picked off one by one.

As for the Blu-ray--not only does it look and sound good enough to put you right in the Christmas spirit, but there are some lovely extras as well.  First up is director Craig Anderson's informal interview with a charming Dee Wallace, who manages to melt our hearts all over again as she speaks of working not only on this film but her previous classics (E.T., THE HOWLING, 10, etc.) as well. 

Next, Anderson and actor Sam Campbell ("Cletus") pop over to Gerald Odwyer's house to chat with him about his experiences playing "Gerry."  Again, it's all pleasantly casual and amusing, as well as informative.

Lastly comes a blooper reel, deleted scene, and brief clip of Odwyer and Anderson goofing around.  The latter two also handle the film's commentary, which is very scene-specific and enlightening.

The Blu-ray is in 2.25:1 widescreen with 5.1 surround sound.  English subtitles and closed-captions are available.

And now, here's our original review of the film itself:

A movie that might also have been called "When Abortions Attack!", RED CHRISTMAS (Artsploitation Films, 2016) is a pretty effective cautionary tale about what can happen if your viable aborted fetus is rescued by the guy who's about to blow up the abortion clinic, grows up into a twisted, deformed freak, and then returns as an adult on Christmas Day to wreak bloody revenge on his erstwhile mother and her comically dysfunctional family. 

Of course, any such film must star beloved genre queen Dee Wallace as the mom, who so desperately wants a traditional, happy family get-together despite having a woefully untraditional, unhappy family with absolutely no intention of getting together.  Her only solace is son Jerry (Gerard Odwyer), whose Downs Syndrome only makes him more special in Mommy's heart.

The rest of the clan includes the rebellious teen girl, her witheringly cynical and very, very pregnant older sister, the ultra-religious sister whose husband is a pious man of the cloth, and Mom's old-hippie brother who is forever puffing away on his medicinal marijuana. 

The prickly interactions amongst this motley bunch, spurred by various family issues and clashing personalities, would be sufficient for a twisted "Big Chill" sort of ensemble dramedy were it not for the fact that their ritual of exchanging gifts around the Christmas tree is interrupted by the entrance of one Cletus, an extremely creepy figure robed in black and wrapped from head to toe like a leper. 

Anyone who watches the abortion clinic prologue and then gets a load of Cletus should have very little trouble putting two and two together as well as mentally mapping out pretty much what territory the rest of RED CHRISTMAS is going to cover. 

All that's left to discover is who's gonna die in what order, how (and how bad) it's going to be, and whether or not first-time writer-director Craig Anderson will be able to make it entertaining for us jaded old slasher-flick junkies. 

Of course, the movie has already proven itself absorbing and fun thanks to good dialogue and performances and a pleasing overall look which includes nicely creative use of color and camera movement. 

Once the axe hits the skull and Cletus starts racking up his body count, the story goes into high gear and keeps us on our toes even though most of the plot's twists and turns cover pretty familiar ground. 
Granted, things start to lag a bit in the second half, but remain generally engaging enough to keep us wanting to see what happens next.  The kills range from teasing glimpses to graphic gore (although this isn't really a gorehound's dream) while our fleeting glimpse of Cletus sans facial bandages drives home the pleasingly retro nature of the film's practical effects. 

The tone is mock serious, with any humor that's inherent in the script kept utterly deadpan and never overt, which I like.  I also like the fact that the premise is so refreshingly different from the usual teens-in-a-cabin or campers-in-the-woods slasher fare while retaining the better elements of such films.

Mainly, though, RED CHRISTMAS lets us enjoy watching the wonderful Dee Wallace giving her all in a great role while fun and entertaining murder, mayhem, and carnage ensue all around her.  It's enough to give horror fans a little taste of Christmas right here in the middle of August.
 


Red Christmas (Official Trailer)

RED CHRISTMAS -- Blu-ray Review by Porfle

CAESAR AND OTTO'S DEADLY XMAS -- Movie Review by Porfle

(Originally posted on 8/28/12)


When we last checked in with those wacky half-brothers Caesar and Otto, they were frantically eluding the bloody clutches of a serial killer in CAESAR & OTTO'S SUMMER CAMP MASSACRE and trying not to get sued by the Prince of Darkness himself in CAESAR & OTTO MEET DRACULA'S LAWYER.  Now, with CAESAR AND OTTO'S DEADLY XMAS (2012), even "the most wonderful time of the year" becomes a nightmare of horror and hilarity for our dauntless dim-bulbs.

Directing his own screenplay (from a story co-written with Joe Randazzo) in his usual frenetic and wildly inventive style, indy auteur Dave Campfield once again stars as "effete tough guy" Caesar Denovio, a whirling dervish of cowardly aggression who fancies himself a great actor even though he bungles even the tiniest bit parts (such as "Waiter" or "Background Pedestrian").

Caesar constantly bullies and beats up on his much larger but mild-mannered half-brother Otto (Paul Chomicki), an unemployed "sponge" living in Caesar's apartment.  Together, Campfield and Chomicki form a comedy team that harkens back to such classic duos as Abbott & Costello and Ren & Stimpy, but with their own amusingly unique style.

Several elements from SUMMER CAMP MASSACRE are carried over here, including Caesar and Otto's quest for employment leading them into the manipulative clutches of the deceptively pleasant Jerry (Ken MacFarlane), who now heads an evil organization called XMas Enterprises.  Caesar gets to display his bad-acting chops again, this time failing his audition to play Santa due to a childhood trauma caused by crazy Grandpa Denovio (a hilarious cameo by Troma's Lloyd Kaufman).

There's a road trip complete with endearingly bad (if not impossible) process shots, along with another of Caesar's BABY JANE-style attacks on Otto as they compete for the same acting role.  The suspenseful climax recalls that of the previous film, with Caesar, Otto, and their dad Fred in grave peril at the hands of Jerry and his minions.

One of the most delightfully funny new wrinkles in DEADLY XMAS is when Caesar gets the chance to write, direct, and star in his very own low-budget horror film (financed by XMas Enterprises) which, of course, is a disaster.  "Hand-hold it, the shakier the better!" he says gleefully during one scene.  "That's, like, never done in independent films!"

 

Other returning castmembers include Robin Ritter as Nurse Helen, Avi K. Garg as the plucky Drew (who remains upbeat even though he keeps losing his arms and having them reattached), Scott Aguilar as Caesar and Otto's no-good but lovable dad Fred, Summer Ferguson as Otto's boyhood love interest Allison, Keith Bush as the Caesar-hating chief of police, Dawn Burdue, Jen Nikolaus, and Derek Crabbe. 

Felissa Rose (SLEEPAWAY CAMP), Martin Sheen's brother Joe Estevez, and scream queens Brinke Stevens and Debbie Rochon make their customary cameo appearances, while Linnea Quigley plays Caesar's crabby agent Donna and recreates her celebrated death scene from 1984's SILENT NIGHT, DEADLY NIGHT.

Felissa's husband Deron Miller, who had a much smaller role in SUMMER CAMP MASSACRE, plays Santa-clad serial killer Demian, a crazed lackey of XMas Enterprises who becomes fixated on our heroes and starts killing off everyone on the "called to cancel" list for Caesar's annual Thanksgiving feast (which features pretzel sticks, popcorn, and toast on picnic plates).  Demian's axe-wielding exploits supply the film with most of its over-the-top comedic gore, aside from a dream sequence in which a mortified Caesar gets drenched from head to toe in the red stuff while Santa dismembers Otto with a chainsaw.

Once again, Dave Campfield is able to overcome a rock-bottom budget simply by means of creative directing, camerawork, and editing (the latter is especially good), along with sound design and a hyperkinetic pace which recall classic theatrical cartoons.  In addition to this, the cast is brimming with talented performers rather than, as in so many low-budget features, a bunch of nitwits thrown together on the cheap.  There's a lot of good comic acting going on here, with each castmember seemingly inspired by the project.

This is especially true in regard to Campfield himself, who, given the right resources, has (in my opinion) the potential to develop into one of the sharpest and most visually creative comedy filmmakers working today.  While still suffering from a lack of polish that a decent budget would solve, his "Caesar and Otto" series has its own distinctly warped slapstick style and sensibility in the same way that, say, the Zucker Brothers' comedies do.  I'm not saying Dave Campfield is the next Buster Keaton, but I think ol' Stone Face might've gotten a few good laughs out of CAESAR AND OTTO'S DEADLY XMAS.

caesarandotto.com

Caesar & Otto’s Deadly Xmas--Fun Facts and Trivia

Story: With the holiday season approaching, Caesar and Otto find themselves employed at X-Mas Enterprises Inc., where a disgruntled employee wearing a Santa suit has begun a killing spree, and has appeared to have found himself the perfect patsies.

Cast: Dave Campfield, Paul Chomicki, Deron Miller, Ken Macfarlane, Summer Ferguson, Brinke Stevens, Scott Aguilar with special appearances from Lloyd Kaufman, Felissa Rose, Debbie Rochon, Joe Estevez and Linnea Quigley.


Trivia

The film is part spoof of 1984’s Silent Night, Deadly Night, and features many direct homages. Most notably, Linnea Quigley being impaled upon antlers.

Lloyd Kaufman’s appearance is a direct spoof of an opening scene from Silent Night, Deadly Night (1984).

Deadly Xmas is a sequel to Caesar & Otto’s Summer Camp Massacre, which lampooned “Sleep away Camp” (1983). Summer Camp featured Felissa Rose in a role that parodied her Angela character from the original.

Deron Miller, who portrays Demian in this feature, was lead singer of the hit rock group, CKY.

Deron Miller and Felissa Rose play husband and wife in the film. In real life they in fact are.

Neil Leeds is in fact a local Los Angeles celebrity known for his around the clock television ads as Leeds Mattress owner and spokesperson.

Preproduction has begun on the next installment, which will satirize both Halloween and the Paranormal Activity movies.

Intended to be a modern day throw back to the Abbott and Costello horror/comedy crossovers of yesteryear.

 

CAESAR AND OTTO'S DEADLY XMAS -- Movie Review by Porfle

SLASHER.COM -- DVD Review by Porfle

 

Originally posted on 3/1/17

 

You know you're in for a good time when a movie not only meets whatever modest expectations you may have for it, but continually surpasses them from the first scene all the way to the last.

Not that SLASHER.COM (2017) is in danger of winning Best Picture or anything, but it does take the lowbrow and often "blah" genre that is its namesake and uses it as the raw material to carve out a finely-hewn piece of cinematic folk art. 

A dynamic opening titles sequence recounting the recent slasher murders of St. Louis singles answering lonely hearts ads online leads us to, you guessed it, a couple of strangers hooking up via an online dating service and venturing out into the wilds of Missouri to spend a getting-to-know-you weekend in a secluded cabin.

Right off the bat, we have to start wondering if those nice facades are for real, or if there's anything Jack (Ben Kaplan, "Pillow Talk", "Weekend Warriors") or Kristy (Morgan Carter in a solid debut) might be hiding as they settle into their fun weekend of romance and a bit of hanky-panky.

What we don't expect is how...well..."odd" the people renting the cabin to them turn out to be.  The Myers family includes Papa Jesse, played by R.A. Mihailoff (DARK HOUSE, LEATHERFACE: TEXAS CHAINSAW MASSACRE III), who looks like he was born to play a machete-wielding boogeyman, and oversexed daughter Caitlin (Rebecca Crowley), a backwoods child-woman who eyes Jack up and down with all sorts of illicit intent.

Best of all, though, is Jewel Shepard as Mama Myers, the matriarch of the family.  Stuffed into a dress half her size, this overripe matron (who's both too nice and too creepy, a deadly combination) practically oozes "horny" as she ingratiates herself to the nervous young couple, taking special interest in our Jackie boy.

 

Shepard's performance in the role is one of the most deliciously demented I've seen since Lynn Lowry blew through last year's MODEL HUNGER, and she helps push SLASHER.COM deliriously over the top.  Not that it needs that much help, since its premise starts out deceptively simple before taking an abrupt left turn into stark, raving coo-coo and then never letting up.

Once this happens, we can't be quite sure who's who or what's what, which keeps things wonderfully unpredictable.  Just when one of my suspicions turned out to be true, another surprise caught me totally off-guard. 

In fact, this script, which tiptoes around "torture porn" territory without ever actually succumbing to it, delights in playing up our expectations by giving us just what we expect one moment and then pulling the rug out from under us the next.

Technically, SLASHER.COM is sharply-rendered and is simply a pleasure to look at.  Director Chip Gubera keeps a keen edge on the action and visuals while also handling writing (with Chelsea Andes) and music chores.  His rock score adds to the film without overpowering it. 

There isn't a whole lot of gore, but what there is has been done with traditional 80s-style practical effects--indeed, the whole film just has the kind of vibe one gets from the more satisfying genre films of that decade.

The DVD from Cinedigm is widescreen with Dolby 2.0 stereo sound (English only).  No subtitles.  The sole extra is the film's trailer. 

As exceptional as it is, SLASHER.COM keeps things pretty basic while embellishing its barebones storyline with good performances, quirky characters, chills and suspense, and some twists that only the usual "I saw it coming" types will see coming.  I wish every movie of this type could be as much bloody good fun.

SLASHER.COM -- DVD Review by Porfle