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The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread 
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Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Zeppelin wrote:
Jesus Christ guys. What began as a series of posts equaling up to "Fuck this shit" has evolved into a series of posts promising an exploration of deep, theoretical questions about a piece of shit exploitation film. At this rate the debate on Goodbye, Uncle Tom is becoming the The Day the Clown Cried of the Reelviews forum; always talked about, occasionally rumored to be found, never seen.


I know, I know... I keep putting it off. I won't post anything else until it gets done. I give any moderator permission to ban me if this post isn't the last thing I write before Zeppelin's Getting Frustrated gets reviewed.


Wed Nov 10, 2010 12:07 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
I don't think that my cock has ever been teased this much before.


Wed Nov 10, 2010 11:41 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Couple of things...

I don't want to be the first to delve into details on the film and my thoughts on them. This is Major's thread...he is master and commander. I respectfully await his thoughts first. I don't want to tread on anything that he might write about on the film, you know, beat him to the punch or whatever. That just wouldn't be right.

That being said...Mark. This shit has no fucking due date on it. You take your time, man. Seriously...this is not a classroom. I've had blue balls before and I can handle it.

I seriously hope nobody expects "deep" thoughts from the ram1312 here. I'm pretty sure I haven't given the impression that I am an incredibly insightful dude when it somes to dissecting movies. This is part of the reason I decided to watch this film with major and watch Broken Flowers with zepp in his thread (also the reason I try to be involved with the movie club). I want to watch the films that you guys watch and see how and what you guys see in them. I pretty much see things on the surface level...but I'm trying to get deeper here.


Wed Nov 10, 2010 12:17 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Ram's words were encouraging.

I'm "suffering" from some sort of "block" with writing. I start with a post and scrap it to drink some tea. It'll clear up, I'm sure... who knows why such silly boys like myself fall into these spells of not being able to accomplish simple shit. Oh, also: insomnia. Again. Once it sets in for ~4 nights I'm like a regular Billy Faulkner.

Anyhow, here's one of my aborted looks at Goodbye, Uncle Tom:

Quote:
I. MONDO: CINEMA OF THE WORLD/WORLDS/FABRICATED WORLDS/POOR EDUCATION/ALMOST

So many patient patients of psychotherapy/psychiatry will, when drinking from the candor jar, sometimes compare their therapist to a whore. One of the many barriers to establishing a therapeutic relationship is, unfortunately, money -- the therapist gets it, sets the time limit, has to have more "on" than "off" days, and has the privelage of withholding information that will answer questions that are best left asked and unanswered. And so there are now two people (three, if you factor in the patient doing the work): actual therapist and fantasy, patient's-version therapist. They may superimpose easily or they may have absolutely nothing in common other than both accept money for something to can look, sound and feel like friendship.

And then there's the Mondo Film. Mondo was a not-short-enough-lived cinematic school of shock that purported to document reality and eventually mutated into films like Faces of Death and clones thereof. Some, like Faces of Death, mixed in real footage of suicides, serious injuries and other carnage with staged events like a "documentation" of a skydiver getting torn to pieces by crocodiles. There were a few reasons why the mix had to go down: nasty footage isn't as easily captured as nasty "reenactments" (if the infamously ""'d word even barely applies -- staged recreations of fictional events don't have a perfect word match in the reverse dictionary) and the problem of Running Time posed a problem that begged for some quick-witted desperacy.

Addio Zio Tom (or, Goodbye Uncle Tom) is a sub-genre of a sub-genre that thrived, if you'd like to call it that, from the 60s onward. It could be argued that the sweet-tempered stepsister of the Mondo has led to Best in Show among other mockumentaries but it's easier to classify what the team of Jacopetti and Prosperi as something completely outside of film as we know it.

Because they filmed simulated worlds (ah... now that first paragraph makes a little more sense) and called it reality and, worst of all, had the guts to say the audience should be ashamed for watching what they filmed. Or, to make it a little clearer, this list:

1. SLAVERY HAPPENS
2. SLAVERY IS WRITTEN ABOUT
3. JACOPETTI AND PROSPERI DECIDE


I knew that once that list popped up that I was in trouble and needed a break. And what's with that first paragraph? It seemed like a good idea at the time. I think I fell into the trap of taking myself too seriously and need a good belt of Lipton Green Decaf to clear my skull of the extra self-importance.


Wed Nov 10, 2010 11:47 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Tee-hee, I liked that. I'd be more inclined to compare a therapist with a whore if some sort of happy ending was involved but I see what you're getting at.


Thu Nov 11, 2010 6:09 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
Unke wrote:
Do1970ies Samurai movies count as exploitation? I should finish watching
the Lone Wolf an Cub series soon. Reputedly, it holds a world record in
blood spurting or limb hacking of some sort


I'm really glad you brought this up and, what's more, recommended a road in -- I very much want to see one and plan on doing something that highlights 70s sumarai as well as 70s kung-fu. Any good picks?


I didnt know whether this fits better into the 'Last movie you watched" thread or here, so I double-posted:

Quote:
Lone Wolf and Cub- (1972 - 1974) a.k.a. Baby Cart- a.k.a. Shogun Assassin-series

Based on a famous Japanese manga, the Lone Wolf and Cub movies are about Ogami Itto, the disgraced former executioner of the Shogunate, who travels through Edo-period Japan with his infant son Daigoro as an assassin-for-hire known as the Lone Wolf. The backgound: The powerful Yagyu-clan kills Ogami Itto's wife and frames him for a plot to murder the Shogun in order to usurp Ogami's powerful position as Kaishakunin. A Kaishakunin's job is to assist in the ritual suicide of those lords who have been ordered by the Shogun to commit Seppuku (i.e. disembowel themselves). Ogami defies the order to commit suicide himself and fights the Yagyu to an impasse, so the Yagyu leader Retsudo - the main villain throughout the series - allows him to leave the empirial district and to wander the country. Ogami then gives the choice to his infant son Daigoro whether to be sent to his mother (i.e. be killed) or whether to accompany his father on the "path to hell" by putting a ball and a sword in front of his son. Daigoro "chooses" the sword and travels with his father "on the road to hell", who pushes him around in an armoured and armed cart.

All six films of the series follow the same template: The Lone Wolf is hired for an assassination job and has to fend off renewed attempts by the Yagyu, regularly disguised as wandering monks, to kill him and his son. Each film closes with a large battle between Ogami Itto and an army of Yagyu warriors. The most notable aspect of the Lone Wolf and Cub-movies is the extreme violence - fountains of blood gush from wounds and limbs are being hacked off in large quantities. Think of a more extreme version of the teehouse fight sequence in Kill Bill Vol. 1. In contrast to Kill Bill, the violence isn't played for laughs, though, and the presence of a young child, who occasionally uses the secret weapons of his cart - extendable blades etc. -, makes the violence a little disturbing.

The Lone Wolf and Cub movies can be considered as exploitation fare, particularly because of the copious amount of bloodletting and nudity, as well a 1970ies soundtrack and Spaghetti Western filming techniques. However, they are actually very well-made and, I dare say, occasionally artistic. Although Ogami Itto is presented as a 'man with no name'-type stoic loner, who doesn't talk very much at all, there is surprising tenderness in the father-son relationship. If you should be interested in Samurai movies and don't mind the extreme violence, the Lone Wolf and Cub films are an excellent choice

The Sword of Vengeance
The first film of the series provides the background. In addition, Ogami Itto is hired to dispose of a gang of bandits, who terrorise a village. The latter plot isn't all that good, but the background story is worth it. 6/10

Baby Cart at the River Styx
In the second movie of the series, Ogami Itto is hired by a guild of dyers, whose secret of making indigo colour is under threat of being stolen by a rivalling clan, who send three assassins known as "the gods of death" (each armed with a different weapon). At the same time, the Yagyu clan sends a team of female Ninjas to kill Ogami Itto. Overall, the second movie of the series is slightly better than part 1. 7/10

Baby Cart to Hades
The Lone Wolf protects a woman who had been sold into prostitution and killed her pimp by biting his tongue of. After being tortured by the pimp's guild of dishonoured gangsters instead of the prostitute, they hire him for an assassination job, which pits Ogami Itto against an honourable ronin and an army of Yagyu musketeers. 7/10

Baby Cart in Peril
Ogami Itto is hired to kill the tattooed female assassin Oyuki, a former imperial bodyguard with a troubled past, because she dishonours her fallen foes by cutting off the knots in their hair. When Daigoro is separated from his father, he encounters Ogami’s former rival for the position of Kaishakunin – a Yagyu sword master. The fourth instalment offers more background story and is more empathic towards its characters while also delivering on gory swordplay. In my opinion, it is the best of the series. 8/10

Baby Cart in the Land of Demons
In the worst part of the series, Ogami Itto must defeat five messengers, each of whom knows a part of Ogami's mission and has a fifth of the Lone Wolf's regular fee of 500 Ryu. The job is to kill a 5 year old girl who had been raised as a boy in order to inherit a lord's position. The violence against young children (Daigoro is tortured as well) makes this quite unpleasant. 5/10

White Heaven in Hell
The final part of the series concludes Ogami Itto's and Daigoro's journey on the road to hell in an fitting way: Ogami Itto racks up a record number of screen kills for an individual character (says Wikipedia). Retsudo Yagyu sends his remaining two children against Ogami Itto - a sword-juggling daughter and a renegade necromancer, who creates three earth-tunneling undead ninjas. The final battle plays in front of a spectacular scenery of snow-covered montains. Samurais on skies! 7/10


Fri Nov 12, 2010 1:23 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
#6: Goodbye Uncle Tom

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The point is, I believe, that documentaries just aren't particularly spicy.

And so I recall a much-liked but mostly-unpublished capsule I wrote wherein Mel Gibson manages to harnass time-travel technology in order to visit Jesus on his 13th birthday. The review never gets around to the actual documentary (95% of the text is dedicated to a long apology surrounding a sexual indiscretion, of course) but that's because answering the question of what Jesus was like on his 13th birthday seems a bit presumptious. Just a bit, though. I'm not up to speed on my New Testament -- I've only got 50 or so years left on this earth -- but I don't want to be the one to even mock the study of what happens in the gap between Jesus Does This and 20 Years Later. I'll leave that to my fictional Mel Gibson and he doesn't even get around to it. 50 years or so left on this earth.

Gualtiero Jacopetti and Franco Prosperi built a career, starting in the 1960s, around documenting things that other documentarians would have considered improvident. They went over to Africa, filmed a few staged instances of endangered animals meeting their fate, and then decided to up the exploitative juices a bit by asking the kinds of questions that people who don't think like to ask. For example: "Why is Africa such a big, stewing pile of dumb black people?" They filmed their colonization fantasy, called it Africa addio and collected a few bucks.

So was born, perhaps even a bit earlier with their tossed-together Mondo Cane, the exploitation documentary form known as Mondo. Semi-fictional, painstakingly "re-enacted", and the very soul of exploitation: actors, all unprofessional and in need of some money, going through the motions of what Jacopetti and Prosperi imagined their ancestors had to go through.

What's most curious is that this documentation isn't based on reliable historical record or anything of sociological value but, instead, based on fantasy of what life musta been like way back when. The goal is to enlighten an audience, and this applies to Goodbye Uncle Tom, of relatives of the fictional people that had the misfortune of being born poor. The actors, not the slaves. The slaves were born slaves.

What's it about?

Imagine, if you would, an amazing time-travel device that lets you meet the actual Jesus on his 13th birthday. Now imagine that you don't want to meet Jesus but want to meet slave owners, slaves, and the machine of slavery. Fair enough. Jump on in, travel back to antebellum America, and start filming. That's what the crew of Goodbye Uncle Tom did and, boy, did they see some nasty things.

And what are we exploiting in this entry?

Documentary as a legitimate film form, poor Africans struggling to feed themselves and their family, SLAVE OWNERS (for fuck's sake), slaves, and every single black person in front of the screen.

Summary of movie in short sentences:

"The African race is a rubber ball. The harder you dash it to the ground, the higher it will rise."

or

"I mean, let's face it, we didn't have slavery in this country for over 100 years because it was a bad thing. Quite the opposite: slavery built the South. I'm not saying we should bring it back; I'm just saying it had its merits. For one thing, the streets were safer after dark." - Rush Limbaugh

Is it any good?

Go fuck yourself.

The meat:

I haven't had the best month. November. Some concerning medical news around my father, a chocked schedule, money is a little tight... I haven't had much interest in talking Goodbye Uncle Tom because the movie is, frankly, soul-crushingly depressing. It's not like I haven't tried -- several aborted attempts (one of which is right above this very post) were made but I ended up unsatisfied with everything. Even this, all of it done extemporaneously, isn't making me particularly happy.

And it's not because I don't want to talk about slavery or the effects of slavery or racism and the continued problem of racism but because I don't want to talk about this fucking movie. When I tell you that I'd rather watch children get butchered via Troma's production department I hope I convey something about the general air of exhaustion I feel whenever this fucking movie comes up. Even with myself.

So what's it about? It's all staged mockery. Poor, really really poor, Africans are forced to humiliate themselves in front of the camera. Amputees, forced sex... whatever, it was all fair game for the two cocksuckers that made this horrible piece of shit. It's not only infuriating but, man, is it a downer. A downer. To drill it home: FUCK THIS MOVIE. FUCK THIS DEPRESSING EXERCISE. The only goal was to make black people look like corny, silly "niggers" and it even had the sick fuck balls to go surreal with a Black Power segment tacked on to the end. Can you imagine? Sitting in the theater watching this? There you are, a guy who is less than a decade out of Jim Crow's hole, watching two racist fucks put the motions on reinventing slavery.

So I decline, at least in this post, to go through the treatment of talking about Goodbye Uncle Tom. I'm all out-outraged. I just can't do it. But I'll give you this:

Don't see the movie. Don't. Don't see this movie. I regret having seen it and I'm an asshole for roping ram1312 into watching it.

If you see this movie, Gualtiero Jacopetti and Franco Prosperi win. Don't play their fucking game. You think Salo is exploitation? It isn't. This movie is cruel and disgusting. It killed off, temporarily, the part of me that wants to go on living.

If you think that watching it is a test of your tolerance you're mistaken and probably an asshole. Want to get outraged? Read some international news. Or national news.

I piss on Goodbye Uncle Tom. It's terrible. A waste of everything up to an including the oxygen consumed to make it happen. That includes watching it. Life isn't depressing so why do this to yourself?

Yes, this is the worst entry I've written. I. Just. Don't. Care. I want to get back to looking at the rest of the stuff I've got on the list. I'm tired, people. I'm sorry that I built this thing up and will be the first to say that it's the reason I felt disinclined to post at a reasonable clip.


Sat Nov 20, 2010 6:25 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Yikes that sounds awful! But now that you've gotten that out of the way, do you have any plans to write up Zombi 2 next?


Sat Nov 20, 2010 6:30 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Vexer wrote:
Yikes that sounds awful! But now that you've gotten that out of the way, do you have any plans to write up Zombi 2 next?


Sure thing. I could use something to cheer me up. A zombie fights a shark! I feel better already.


Sat Nov 20, 2010 6:34 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
#7: Zombie (aka Zombi 2 aka Zombie Flesh-Eaters)

Image

What’s it about?

While George Romero reaped the zombie reaping with his tales of towns gone Hungry Man Dinner, Lucio Fulci reaped the zombie reaping by ripping off Romero, throwing a 2 behind Zombi (the title of Dawn of the Dead’s European release) and calling it a splinter through the eye. (Where splinter through the eye = movie and Zombi is spelled without my beloved vowel friend E.)

Sorry. You still don’t know what it’s about it. It’s about zombies. But not just zombies, oh hell no… it’s about why the zombies have risen and why they’re on their way to your local shopping mall. Sort of. It answers one of those questions. Again: sort of.

And what are we exploiting in this entry?


Good ol’ fashioned American zombie terror! And, once again… I’m detecting a theme… women. And science as the all-knowing entity set to set your wrongs right. And women. And shoddy carpentry. But really American horror sensibility -- it's exploited left and right. It was an unusually prescient film, apparently, as modern horror tends to look more like Zombi 2 than anything else.

Summary of movie in a short sentence:

You with your “curse” this and “curse” that and holy shit run there’s a fucking zombie you better run please what are you doing run don’t oh my god they’re eating his colon.

Is it any good?

Of course it’s good, my good sir. Atmospheric, scary in parts, and not nearly as campy as that “zombie punching a shark” clip would have you think. And violent? Boy is this one violent. Right through the eye! A woman gets a splinter of would dragged right through her eye! But what it does best -- that is, when zombies aren't punching on sharks and trying to capsize boats -- is build that valuable dread.

The meat:

Ah, zombies. I mean: AH!! ZOMBIES!! I've made it obnoxiously clear but would like to repeat myself for the sake of hearing my fingers type upon this keyboard (soothing): I love zombie movies. Zombie movies, at their core, are little mysteries surrounded by increasing levels of bloodshed and the basic human desire to breathe a little bit easier away from the harassing day-in day-out. Sometimes the day-in day-out is a pathetic little man, the one who calls himself your "boss" and at other times its the Herculean will that needs summoning in order for those noodles to get boiled. And, on special occasions, it's zombies. But what is a zombie? In time, dear (INSERT YOUR NAME HERE), in time.

First I'd like to tell you about a dream you've had. You're already putting up your hand (left) in protest: I couldn't possibly know what you dream about. But you're wrong: you've dreamed that you need to get to that class you missed FOR AN ENTIRE SEMESTER because today is the final. And since you've had this dream, and if not that dream than a strikingly similar version thereof, I feel some confidence in telling you that you'll be having this dream FOR THE REST OF YOUR LIFE. You'll never know why... perhaps it's some minor acute anxiety, perhaps it's chronic anxiety that you've acclimated to in your day-in day-out zombie-free existence... but it will pop up here and there. You'll marry: the dream. You'll have children: the dream. And you'll almost certainly tell others about this dream and they'll tell you that, my lord, they've had the same dream.

Because everyone has this dream. It's the adult version of finding yourself naked just as you prepare to celebrate the 4th of July. A little rat of unconscious harassment, this standard dream is apparently part of everyone. Which means that whatever is at the core of the dream -- I'm not proficient in speaking the language de la unconconscious (Wittgenstein said we'd better not even try -- sometimes a lion just stands as a lion, not a partner in crime) -- is some universal quality. Or maybe an American quality. It's a quality I possess, at any rate.

So goeth the Zombie Flick: survivors in burgeoning wasteland trying their best to stay uneaten while the attacking hordes attack hordes. This idea, which is just plain terrifying, has become mixed up in timely significance that threatens to reduce zombies to stumbling, hungry commentators. While Dawn of the Dead(s) have their place, Zombi 2 is a purer sort of effort. By removing most of the startling This Is You: Here's Your Mirror sociology, Fulci has gone to the root of what makes zombies so damned frightening. Hint: it's because they're zombies.

But here I am telling you that the movie is without social commentary when, in fact, it's entire narrative is set into motion by the age-old argument: Old World v. New World? For, on a lonely island that still talks "curses" and "voodoo", we find zombies. And those zombies, relics of the days feverishly studied by upcoming scholars, are headed for New York.

And New York opens the movie. Harbor, World Trade Center hovering in the background, and then undead flotsam and jetsons showing up to bring tidy New World modes into serious, painful relief. Throw in the staple of all exploitation cinema (someone's missing!) and off goes the plot. A daughter looking for her father, a father on a cursed island, talk of witchcraft, aloof vacationers... it's all here. And the rules (die or become a zombie) are the same.

What Fulci does well is something that Romero, too, got right: these are people and they're just trying to get back to the day-in day-out. One character is a struggling substance abuser, another is apparently addicted to tranquilizers (the character of Ann Bowles, as played by the untalented Tisa Farrow, appears to have zombie DNA battling with her regular, non-zombie DNA), and still another just wants to enjoy a damned vacation without having to kill any undead natives. Caribbean tourism just doesn't make any sense.

For all the New World (no zombies) v. Old World (zombies) talk I've forgotten to mention the scene wherein a zombie drags a screaming alcoholic into a splintered door frame. And just like in an Itchy And Scratchy cartoon, the largest splinter in the door frame manages to penetrate the poor soak's eyeball. I believe, although I may be confusing this movie for another, Zombi 2 came with the promise that "vomit bags will be distributed upon request". I'm not making this up: it was a part of the marketing campaign. There's the usual disembowling/gnawing/bleeding bits but, when Fulci sees fit, he'll shove a fucking splinter through a woman's eye. So more Old World v. New World, I suppose.

And, as any good New World explorer will tell you, there will be sharks. Fulci does the scene as best as someone... I mean, come on, I can't even finish that sentence. It's a fucking shark in battle with a zombie. There's the zombie, moseying along the ocean floor and then... they fight. It's meant as evidence that zombies are just about EVERYWHERE but the scene is played as uncampfully as one meeting that description could be played. Still: why just one zombie on the ocean floor? What made this zombie walk into the ocean in the first place? Where was he going? Also: they used a tranquilized, stuffed-full-of-horse-meat lemon shark in the role of Shark. That's not the kind of animal cruelty one expects from a zombie film.

Fulci gives some scenes the Artiste treatment by filming from Zombie POV, at an angle, and underwater with a shark gnawing a zombie. He's a bit of a show-off: these are cinematic techniques reserved for movies about church bells, the loss of youth and so forth. But they fit Zombi 2 all the same: if you're going to make a movie about the Old Ways fighting it out with the New Ways you may as well channel the inner Orson Welles.

But, like that dream around forgetting to drop that class, zombies always come back for more carnage. They're unstoppable and, even more frightening, they're so packed full of lion's tongue that trying to figure out what they're about is like trying to ace a calculus final when you barely remember the last time you were in class. What building was it in? Why do I remember that the carpet of the classroom was blue but can't remember the teacher's name?

I'm going to recommend Zombie (Zombi 2, as I prefer) because it's a Rosetta Stone of modern horror. That it also manages a comment or two on where film is going, where film has been AND how the ancient world knew before the modern remembered is just icing on the cake. It's entertaining Romero thievery with a twist of shark. Not too bad for a 90-minute movie with terrible dubbing and even worse acting.


Tue Nov 23, 2010 1:55 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Any requests for which one gets written up next?


Tue Nov 23, 2010 2:13 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
Is it any good?

Go fuck yourself.

It's not only infuriating but, man, is it a downer. A downer. To drill it home: FUCK THIS MOVIE. FUCK THIS DEPRESSING EXERCISE. I decline, at least in this post, to go through the treatment of talking about Goodbye Uncle Tom. I'm all out-outraged. I just can't do it. But I'll give you this: Don't see the movie. Don't. Don't see this movie. I regret having seen it and I'm an asshole for roping ram1312 into watching it. If you see this movie, Gualtiero Jacopetti and Franco Prosperi win. Don't play their fucking game. You think Salo is exploitation? It isn't. This movie is cruel and disgusting. It killed off, temporarily, the part of me that wants to go on living. If you think that watching it is a test of your tolerance you're mistaken and probably an asshole. Want to get outraged? Read some international news. Or national news. I piss on Goodbye Uncle Tom. It's terrible. A waste of everything up to an including the oxygen consumed to make it happen. That includes watching it. Life isn't depressing so why do this to yourself? Yes, this is the worst entry I've written. I. Just. Don't. Care. I want to get back to looking at the rest of the stuff I've got on the list. I'm tired, people. I'm sorry that I built this thing up and will be the first to say that it's the reason I felt disinclined to post at a reasonable clip.


Damn, I thought my zero-star write-up for Saw 3D was an impassioned plea for people to ignore an utterly contemptable, reprehensible piece of poorly made, life draining trash. Fuck if I'm going to see this, no goddamned point and it seems a little silly of me to have said I might join in the first place.

I take it you liked Zombi 2 considerably better :)


Tue Nov 23, 2010 2:20 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
Any requests for which one gets written up next?

How about Reform School Girls?


Tue Nov 23, 2010 3:43 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Apologies for never reading this thread. Amazing writing Major!

Back in the early eighties in London there was a dinghy vid store at the end of my road. He rented illegal horror movies and your thread reads like his inventory. Rented from him for 4 years. The covers of these VHS tapes were priceless. Driller killer, toolbox murders, ferox, I spit, zombie flesh eaters.....

I did not realize how much I'd seen. Main problem is that it's been a few years...

I confess to buying Thrillef. A cruel picture - mistake.

Would love to see witch by the sea

Rob


Tue Nov 23, 2010 4:38 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Major

This wa my bible for 4 years. Saw just about all of them.

http://www.hysteria-lives.co.uk/hysteri ... ies_4.html

Very fond memories of These

The vid store I mentioned only had one copy of SS experiment camp so it took ages to get to see that one
We were also convinced that unspeakable acts had been performed on several of the cardboard box video covers

Rob


Tue Nov 23, 2010 4:47 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:
Apologies for never reading this thread. Amazing writing Major!

Back in the early eighties in London there was a dinghy vid store at the end of my road. He rented illegal horror movies and your thread reads like his inventory. Rented from him for 4 years. The covers of these VHS tapes were priceless. Driller killer, toolbox murders, ferox, I spit, zombie flesh eaters.....

I did not realize how much I'd seen. Main problem is that it's been a few years...

I confess to buying Thrillef. A cruel picture - mistake.

Would love to see witch by the sea

Rob


Thank you, Rob. I've become a believer that great trash is essential viewing, perhaps not in bulk but certainly in some dosage. Sansho The Bailiff these movies are assuredly not but they have something respectable to offer through all of the chainsaws and poked eyeballs.

Robert Holloway wrote:
Major

This wa my bible for 4 years. Saw just about all of them.

http://www.hysteria-lives.co.uk/hysteri ... ies_4.html

Very fond memories of These

The vid store I mentioned only had one copy of SS experiment camp so it took ages to get to see that one
We were also convinced that unspeakable acts had been performed on several of the cardboard box video covers

Rob


I can safely say that the Video Nasties list has been a gold mine of potential low-end cinema. If anyone is going to call themselves a "film fan" than they must check out at least one or two of the titles on the list.


Tue Nov 23, 2010 12:35 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
I forgot to ask you to remind me when you were watchign Zombie 2 because I wanted to see it too.

Well, I guess that bumps it to second on the list.


Tue Nov 23, 2010 5:29 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
I can safely say that the Video Nasties list has been a gold mine of potential low-end cinema. If anyone is going to call themselves a "film fan" than they must check out at least one or two of the titles on the list.



VERY VERY interested to hear your thoughts on more of these.

Mark Kermode is a huge fan of these movies. Specifically, ANTHROPOPHAGOUS THE BEAST and The Witch By the Sea, or whatever it's called.

BTW - Netflix has a big list of Italian Horror

Rob


Tue Nov 23, 2010 7:04 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Vexer wrote:
majoraphasia wrote:
Any requests for which one gets written up next?

How about Reform School Girls?


I'm going to say... no. But it's for "legitimate" reasons: I want to see actual Women in Prison films prior to seeing a loving homage to them. And, at this point, the "Women In Prison Weekend" thing is looking like it might be difficult to do as planned: I can't locate a copy of The Big Doll House. The others haven't been a problem.

So, to take some command (more command? could it be?) of the film selection I'm going with a title off of the Video Nasties list, my own list, and apparently Mark Kermode's (!!) list: The Witch Who Came From The Sea. (http://www.imdb.com/title/tt0075433/)

But not tonight. Because I've got the entire evening free I will be watching Lindsay Anderson's This Sporting Life. And something else.


Tue Nov 23, 2010 7:39 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:

So, to take some command (more command? could it be?) of the film selection I'm going with a title off of the Video Nasties list, my own list, and apparently Mark Kermode's (!!) list: The Witch Who Came From The Sea. (http://www.imdb.com/title/tt0075433/)

But not tonight. Because I've got the entire evening free I will be watching Lindsay Anderson's This Sporting Life. And something else.


Awesome on many levels. Very keen to hear your thoughts on This Sporting Life. Richard Harris is a just a bull of a man in this film. And bring on the witch. I'm curious because I don't see it at netflix, how did you find it?

Rob


Tue Nov 23, 2010 9:54 pm
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