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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
Robert Holloway wrote:
And bring on the witch. I'm curious because I don't see it at netflix, how did you find it?


Any titles not available through Netflix were acquired via Google Video (which has a download option for many of their files) or through various torrent clients. The Witch...Sea was available on a popular one and the quality (Xvid avi) looks to be very good. I burn the files onto a DVD-R and watch them like any other DVD. Thus far, only one film has been impossible to acquire.


Wed Nov 24, 2010 6:37 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
Robert Holloway wrote:
And bring on the witch. I'm curious because I don't see it at netflix, how did you find it?


Any titles not available through Netflix were acquired via Google Video (which has a download option for many of their files) or through various torrent clients. The Witch...Sea was available on a popular one and the quality (Xvid avi) looks to be very good. I burn the files onto a DVD-R and watch them like any other DVD. Thus far, only one film has been impossible to acquire.



Thanks, what is impossible to find?


Wed Nov 24, 2010 7:48 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:
majoraphasia wrote:
Robert Holloway wrote:
And bring on the witch. I'm curious because I don't see it at netflix, how did you find it?


Any titles not available through Netflix were acquired via Google Video (which has a download option for many of their files) or through various torrent clients. The Witch...Sea was available on a popular one and the quality (Xvid avi) looks to be very good. I burn the files onto a DVD-R and watch them like any other DVD. Thus far, only one film has been impossible to acquire.



Thanks, what is impossible to find?


Ah... well, now: nothing. When I last checked, The Big Doll House wasn't available via Netflix or download. Things have changed: I just added it to my queue. They make things easy.


Wed Nov 24, 2010 8:12 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:

Is it any good?

Go fuck yourself.


A-fucking-men.

Now...I don't even know how to start here. Major did an excellent job reporting on this fucking thing these guys called a documentary. Yeah, it's there...they put in subtitles at the end of the film. He did an excellent job of telling you not to watch this film and why. It's fucked, man.

What he "failed" to do (it's not a failure Mark, I know why you didn't want to bring it up), was to cite specific scenes which just about made me huck the Newcastle Brown Ale in my hand through my outdated rear projection 52 inch TV as I was watching this abortion.

Usually I'm good about exposing spoilers, but you know what, fuck it.

Imagine, a dreamy grassy knoll, where a young, probably 10-year-old girl is running, in stereotypical down south attire (blue flowy dress), with a chain in her hand...a chain that is attached to a similarly aged black topless boy's neck, who is running behind her. All shown in FUCKING SLOW MOTION! You seriously think these fucks are romanticizing the whole thing.

Another. You know what a trough is, right? Yeah, you know...the things livestock eat out of. Imagine one about the height of your waist, filled with some sort of gruel, porridge mix. Then, doors that have been holding back a few dozen slaves is suddenly flung open so that they may, hungrily...no wait, voraciously eat from it. These people were not acting guys. Fuck no, they were not acting. And that's not even it. A mother from the crowd takes her child, no more than 2 years old (which REALLY affected me, having a 18 month old boy) and throws the child into the trough and starts shoveling the shit into it's mouth. I think I heard myself audibly and unconsciously say, "Oh...my God."

You want another? (Fuck me, I'm so sorry to bring these up major.)

When the "documentary" crew is on board the slave ship, they are told about the slaves getting sick and having diarrhea. The cure? It's not Pepto Bismol, it's a piece of sugarcane shoved up their a-hole so who ever is going to buy them doesn't know they're dripping poop. Of course these fucks of filmmakers have a guy whose arm and legs are chained above his head, completely naked as the doing is being done. Fuck...same scene, there's a slave that won't eat. Call it a hunger strike. Since a slave without teeth is worth more than a slave that is dead, they bust out his teeth to be able to put a funnel in his mouth and shovel food inside.

Fuck...I need to stop. There are so many more fucking despicable scenes that I'm going to stop there. This shit is sickening.

The while that I am watching this thing, I'm sitting there wondering how...HOW did these people agree to do shit like this? Or did they even agree? How did this happen?

Some of the reading I did lead me to find out that a lot of these scenes were shot in Haiti. This was the time of Papa Doc...the guy that I understand is the reason why that country has been so in the shit (I'm not talking about natural reasons, guys). I imagine that if the filmmakers managed to get this guy's blessing, people had to do what was asked for fear of repercussions from the Tonton Macoute. It's exploitation at it's fullest. And it's fucked.

I'll end it with this...

majoraphasia wrote:
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.


You're wrong and you're right.

Yeah...don't watch this movie. It's fucked.

But, you're not an asshole.


Thu Nov 25, 2010 2:09 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
What a great post, ram...

You forgot the greatest scene of them all:

The explanation of what makes negroes inferior to whites, this professor examining these inferior negroes while delivering this speech, and then offering up several ways to get rid of them. "Refrain from curing their illnesses." But the heart of the exchange is when the filmmakers ask

"Excuse me, Professor, are you Jewish?"

To which he responds

"Yes, of course. Why?"

If I ever meet anyone responsible for this film I'm going to shortly thereafter get arrested for aggravated assault. Stupid blacks, dirty kikes... hmmm.

Ram also mentioned the "trough" scene and that's where I paused the movie for a week.

What I didn't know was this:
Quote:

Some of the reading I did lead me to find out that a lot of these scenes were shot in Haiti. This was the time of Papa Doc...the guy that I understand is the reason why that country has been so in the shit (I'm not talking about natural reasons, guys). I imagine that if the filmmakers managed to get this guy's blessing, people had to do what was asked for fear of repercussions from the Tonton Macoute. It's exploitation at it's fullest. And it's fucked.


I'm actually speechless at that.

The movie ends, as ram said, with the claim that "This film is a documentary." Which it wasn't. And, after that lie, there's something about "These events actually occurred and all of the people existed." Also untrue... unless you factor in that, after production wrapped, the statement was perversely true. How could these guys live with themselves?

The closing narration refers to slavery as "the dust of the past"... weird. What kind of box did these boys emerge from? School segregation wasn't even a decade in the dirt when Prosperi And Co. were celebrating the emancipation of starving Haitian actors. FUCK!

THE EVENTS OCCURRED IN HISTORY
AND THE CHARACTERS REALLY EXISTED.


Thu Nov 25, 2010 2:29 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
You forgot the greatest scene of them all:

The explanation of what makes negroes inferior to whites, this professor examining these inferior negroes while delivering this speech, and then offering up several ways to get rid of them. "Refrain from curing their illnesses." But the heart of the exchange is when the filmmakers ask

"Excuse me, Professor, are you Jewish?"

To which he responds

"Yes, of course. Why?"



Isn't this the perfect example of how racist these filmmakers were/are? Not only are they blatantly degrading African Americans, they decide to take a shot at Jews here, as well. Mother fuckers...was this question ever necessary? Was this fucking film ever necessary?

majoraphasia wrote:
The movie ends, as ram said, with the claim that "This film is a documentary." Which it wasn't. And, after that lie, there's something about "These events actually occurred and all of the people existed." Also untrue... unless you factor in that, after production wrapped, the statement was perversely true. How could these guys live with themselves?


Aw man...I never thought of it like that. These fucks. I can see them chuckling it up in the editing room over that fucking statement.


Thu Nov 25, 2010 4:13 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
For you (in the US) on Thanksgiving (in the US) it's

#8: The Witch Who Came from the Sea

Attachment:
witch.jpg
witch.jpg [ 53.93 KiB | Viewed 1578 times ]


What's it about?

A woman who played Anne Frank in her first film... wait. Really? Yes. Anne Frank? Yes. That Anne Frank? Yes. Do you know of any other Anne Franks? Well, no, but... this seems like a bit of a... what's the term I'm looking for? Change of pace? No, that's not it. Step down, maybe? Kind of, yeah. You're talking about Millie Perkins, right? Yes, yes. Can I finish? Sorry. Go ahead.

A woman who played Anne Frank in her first film, a performance that is incorrectly remembered as Oscar nominated, lures men into her bedroom wherein she becomes a "mermaid" and slices them up starting with the genitals. She does this for reasons we gradually learn and those reasons are why this film is remembered, correctly, as one of the better examples of 70s exploitation.

And what are we exploiting in this entry?

Well this is new: men. And not just men but men's men: football-playing, weight-lifting, beer chugging sacks of testosterone. But, should you think "it's only men being exploited" than I'm pleased to inform you that it's not just men but women's ideas about men. So, once again, women are kind of being exploited. But if I've learned anything from reading reviews of Sex and The City these women actually exist and, what's more, continue to flourish. Perhaps they don't need to be exploited but, as far as woman-empowerment slasher flicks go, this one manages to establish some interesting ground rules that remove the traces of cruelty that one may find in Bloodsucking Freaks.

Summary of movie in a short sentence:

Sometimes your dreamboat is really a figment of your imagination that deserves to have his imaginary reproductive organs removed from his person. And sometimes your dreamboat isn't really a figment of your imagination but... yeah, you should probably cut his penis off with a razor just to be safe.

Is it any good?

As an attempt to bring some Jung to the exploitation table the film is, get this, quite successful if not as subtle as more straight-ahead efforts. But what makes the film resonate is truly successful visual metaphor in the shape of the great Pacific Ocean. I must add that the cinematography, generally left in the fridge for movies that involve penis theft, shows a real gift for capturing sense of place. Dean Cundey, the cinematographer, would go on to do Halloween, The Thing, Back To The Future, Who Framed Roger Rabbit, Jurassic Park, and... um... Road House.

The meat:


Men: walking, talking extensions of their cocks. It's just like a fella to work out, sweat, eat, and play football while a girl like Molly (Millie Perkins) imagines them sliced to pieces. And that's Molly for you: always seeing past the men to their penis-free corpses. It seems that everywhere she goes she can't but help herself to colorful fantasies of weightlifters hacked to pieces, hanging from their gym equipment, or trying to have sex with her as she hacks them to pieces and hangs them from their gym equipment. Sans equipment.

The 70s were a time of renewed interest in giving cinematic ladies the upper penis-slashing hand. Many decades since the suffrage movement, Eve being a puppetmaster for Margo and about a decade removed from Hell No We Won't Not Burn Our Bras, exploitation cinema in the 70s featured a fair share of women getting their turn at fucking over men. Or, more accurately, fucking them with steel blades, lawnmower blades, and propellers freed from the clutches of speed boats. When CGI technology became more widely available the people that pumped out product were those that barely knew how to use it. It's always this way: the technology pops up, the pros get first stab at it, then all the other schmucks enter the market and temporarily reduce the mean quality of the end product. The same somehow goes for femsploitation: get the right to vote, get to spin some Margaret Sanger and then off the races with death and destruction.

Not that Molly is the embodiment of Gloria Steinem's dream: the fantasies of destroying men, perhaps good for some roundabouts over a beer or two, may not be fantasies whatsoever. But Molly is troubled by a psychology forged in someone's sexual proclivities -- who can blame her for thinking herself as a mermaid, which she equates with witchcraft, and luring men to their doom. I'm not about to correct her for mistaking sirens for mermaids because, if I may be so blunt, I enjoy having functional genitalia. It's one of the things that makes me happy.

Off on the West Coast, with a vista of the ocean that calls for everyone with a digital camera to do their best Ansel impersonation, Molly is frequently looking after her nephew and niece while getting bombarded by men men men: on the television (shaving commercial), at the beach, and in her memories of sweet sailor dad. She seems happy enough: the kids delight her, the memories of her father bring a sort of comfort and the cock-strangling knife play is at home safe in her head. And then there's the ocean: reaching scapes unknown, taking the whole of the frame in just the right spot. Director Matt Cimber would like us to see the ocean as the chamber housing all sorts of information: every fish that swims produces a current that pushes toward infinity with wavelet love. In these waves, if we could only decode them, are the actions of everything that has ever set foot in the big blue: ancient ancestors, sailing dads, and perhaps mermaids.

Molly is obsessed with the ocean: mermaids, a sort of witch, once cavorted alongside her father and, if she could only become a mermaid, she could stop the constant reflections on her past. She's further obsessed with another kind of ocean: television. Commercials in particular. Between adverts and talking about dear disappeared dad, Molly has time enough to reflect on the ocean/television as a metaphor for endless sexual frustration. And once the kids, particularly her nephew, start feeling the adolescent heat of wanting to touch a breast Molly tips over the edge: everything is sex sex and sex sex sex and more sex.

So what do these things have to do with one another? The sea is sex, the television is sex, men hanging out are sex... what about dad. Yes, what about dad. Ah. And here's the difference between a rape fantasy involving an outboard motor and The Witch Who Came From The Sea: Freud gets to have a dancing date with Abigail Adams. Rather than making men the source of the sickness (although not entirely... more on that in a moment) the colorful dream life of Molly originates with her. Not a psychopath by nature, Molly is responding to men with a hearty dose of PTSD and it's in this that The Witch Who Came From The Sea rises above the dismissive Video Nasty label. Each time Molly finds herself turned on someone, maybe fantasy or maybe flesh and blood, turns up divorced from his beloved pecker. Like another movie, one made around the same time and currently the talk of the forum, orgasm is often accomplished through rusty means. And, like in that tour-de-force of the arthouse, the meaning is clear: women alone to be women, not semen recepticles. It's not as much of a stretch as you may be thinking.

Like an good American-adapted giallo, Witch has the pleasure in giving us the glimpse of a screwy unconscious life while delivering wagons of lonely, homeless penises. For it's beyond Molly that she could be capable of unrestrained violence: that's for the dream life. Cimber makes the point that all the fathers of psychiatry made: the difference between the dream life and real life is marginal. Freud claimed that dreams were not unconscious but actively willed by the dreamer and, despite her protestations, Molly would eventually have to agree. Just like the avuncular author in Argento's Tenebre, Molly is locked into the routine established just beyond her memory's reach: hurtful behavior that must play out again and again in order to find some hope of escape. This behavior, played out to the best cinematic effect in a brilliantly shot three-way between Molly and two potential victims, feels old because it is old. Again: memory knows before knowing remembers. That's the seventh or eighth time I've dropped Faulkner's observation from Light In August and this may be the time it makes the most sense: Molly robs men of their manhood while Joe Christmas, Faulkner's philosophical foil, had no genitalia.

(CONTINUED BELOW)


Thu Nov 25, 2010 6:07 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
(The Witch Who Came from the Sea CONTINUED)

Lest you think the movie is a meditative examination of feminism's first amateur tier, Cimber makes the most of the drive-in promise by dousing Molly's breasts in red corn syrup aplenty. Men are sliced up, fucked into the great beyond, and put into (as Molly thinks) their deserving home: timeless ocean. She manages this with a razor blade and a hearty education from dad, television, and those mental mermaids. It's not revenge she's after so much as it is a return to the womb: fuck/slash/kill the pain away until you're back to being daddy's little girl. Or perhaps the fucking/slashing/killing is close enough to womb.

The film manages a little of the typical turn-on-women by making the protagonist a standard 70s Woman Roaring who happens to be totally insane. If Cimber, and Millie Perkins, toned down some of the screaming wild-eyesies in the murder sequences the movie would have been the character study that the cult would have us think it is. Not that it is groundless wild-eyesies: victims of sexual abuse should probably be excused if they start giggling, screaming, and going red in the face when they wax fantastic over the de-penising of potential threats. But Molly isn't established as an entirely sympathetic character: she's crazy, you see.

The dialogue, composed to sound as 1976 as possible, tends to ring false and the acting isn't what you'd want to find in the latest Judi Dench/Helen Mirren collaboration but Cimber makes clear who the real star is: sprawling ocean. To paraphrase John Cheever for the millionth time: the ocean is in our salty blood. And all Molly wants to do is return to her rightful home. Everywhere she, and the camera, goes there it is: eternal and not saying anything while housing the history of every memory ever created. Some want to build a device that can decode the Titanic's last song, trapped in the waves of the sea, but Molly wants something simpler: a way to forget about the mermaids, the Titanic, and the sad history that tore her away from home sweet sea.


Thu Nov 25, 2010 6:08 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Wow Major.

I wonder if anyone has ever written a longer piece on this film? I am in awe of this effort as the film is hardly even known by most. You have inspired me to hunt it down and check it out for myself as its reputation truly precedes it.

After you stand back from the storm, where does this sit within your recent journey through the darker corridors?

On behalf of the entire forum.

Thanks
Rob


Fri Nov 26, 2010 10:02 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:

I wonder if anyone has ever written a longer piece on this film? I am in awe of this effort as the film is hardly even known by most.


Thank you, Rob. I can't imagine anyone else has written 2,000 words on The Witch Who Came from the Sea just as I can't imagine anyone else has bothered shoehorning a Faulkner reference into analysis of any film that has 70s-flavored castration action.

Robert Holloway wrote:
After you stand back from the storm, where does this sit within your recent journey through the darker corridors?


It's probably #1 among those I've written about although Bloodsucking Freaks could be the best example of 70s drive-in theater that I've yet seen. I'm really looking forward to Lady Snowblood (Shurayukihime) as it's apparently both a great drive-in revenge flick as well as fairly brilliant. The worse was obviously Addio zio Tom but The Girl Next Door was a complete waste of time... not as offensive but totally worthless.


Fri Nov 26, 2010 11:40 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Anyone with an ounce of pretention towards being considered a serious film fan now needs to search out this movie.

I know I do.

If two Marks can be this high on it.....

Rob


Sat Nov 27, 2010 12:39 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:
Anyone with an ounce of pretention towards being considered a serious film fan now needs to search out this movie.

I know I do.

If two Marks can be this high on it.....

Rob


And not just this movie but several of the titles on the first page's list. It's all about establishing a broader vocabulary and it's nearly impossible to do that without any exposure to movies made to make audiences sick.

If you've got qualms with illegally downloading the movie, Witch can be had for cheap through Amazon: http://www.amazon.com/s/ref=nb_sb_noss? ... ea&x=0&y=0


Sat Nov 27, 2010 2:58 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Watching The Witch tonight.
Rob


Sat Nov 27, 2010 10:12 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:
Watching The Witch tonight.
Rob


That makes you my first "sell". Right on, me. I hope to generate some interest in the upcoming (and currently unlisted-on-first-page)Don't Go Near the Park.


Sat Nov 27, 2010 11:56 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
majoraphasia wrote:
Robert Holloway wrote:
Watching The Witch tonight.
Rob


That makes you my first "sell". Right on, me. I hope to generate some interest in the upcoming (and currently unlisted-on-first-page)Don't Go Near the Park.

You also might want to check out House On The Edge Of The Park.


Sun Nov 28, 2010 1:07 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Vexer wrote:
majoraphasia wrote:
Robert Holloway wrote:
Watching The Witch tonight.
Rob


That makes you my first "sell". Right on, me. I hope to generate some interest in the upcoming (and currently unlisted-on-first-page)Don't Go Near the Park.

You also might want to check out House On The Edge Of The Park.


I probably could use a Deodato film in the mix. I've already seen one of his: The Barbarians. It wasn't very good even as camp but it sure seemed like the Paul twins were having a lot of fun in their roles.


Sun Nov 28, 2010 1:56 am
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
As I write this I am sitting under a great cloud called Major's review. How do I do justice to the cinematic mountain that we all know as "The Witch Who Came From The Sea"?

Let's cut to the chase - This is the bizarre tale of a woman who takes on the personality of a mermaid / witch and sexually mutilates her lovers and others with a razor blade.

Mark has provided a deep analysis of the film. I'd just like to add a few observations for potential viewers here:

1) It's not scary or even that nasty. This is a surprise. It's closer to Antonioni that the normal horror guff within the video nasty genre. What you're seeing here is a director mixing sixties art house with horror. If you've never seen a grizzly horror movie you may be shocked. But Die hard's will wonder about the fuss.

Image

2) The director make a series of dreadful creative choices. Camera angles, zooming in and out, jump cuts, etc are all extreme amateur hour. the music feels like something you found in the cheap miscellaneous bin at your local record store. it's a relic from a by gone era and fails completely to embellish the film or establish an tone at all, beyond bizarre. Matt Cimber would go on to give us the Pia Zadora skin flick "Butterfly". he's still making bad movies today.

3) Psycho babble - The symbolism and metaphors are laid on thicker than a road machine drops concrete. It's crude, ridiculous and at times hilariously funny.

Should you see it? Absolutely!

Every week Hollywood throws out empty, vacuous movies that are completely soul less money making exercises in commercialism. Talent drifts in and out through the production cycle, nodody cares and nobody takes risks. This is different.

We spend much time watching and debating great movies. I have often wondered what makes a great movie versus a good one. I would argue that the people behind it had a genuine care and love of their work and wanted to do their very best. They risked doing things differently and they took chances and it worked. You should think of this film as the opposite end of the spectrum. I believe that those involved genuinely cared about this film and tried something beyond your average slasher movie. they failed on just about all levels. But they left behind something that, like the main character, rose up and made you take notice.

This is a cult classic for good reason. It combines strands of awfulness into a film that I thoroughly enjoyed. Know that going in and you won't be disappointed. I'm not going to even try and grade this movie and justify my position. You're either 0.5 or 8 out of ten depending on you as a person.

You know who you are :-)
Rob


Sun Nov 28, 2010 1:58 pm
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Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Just by reading the descriptions of Goodbye Uncle Tom...I can say with plenty of certainty that it makes Fight For Your Life look like a walk in the park. Ugh.

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Sun Nov 28, 2010 3:04 pm
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Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Robert Holloway wrote:
http://reelviews.net/reelviewsforum/viewtopic.php?p=74650#p74650


Curious that the movie was a Video Nasty outrage but, if I were to time-travel back to the mid-70s, I'm sure that I'd see a different world: still jarred after the apparent fantastic evolution of the 60s, still breaking in some of the shifts that politics was making for modern society.

As for Cimber's dreadful creative choices: definitely. But I respect the attempt at art that has since completely left the genre -- Friday the 13th and its clones, Saw and its doubles are rote exercises in money-making carnage. The Witch Who Came from the Sea isn't that kind of product. It isn't product at all. While the push behind the movie is amateur it's no moreso than countless new releases. And as for this:

Robert Holloway wrote:
Psycho babble - The symbolism and metaphors are laid on thicker than a road machine drops concrete. It's crude, ridiculous and at times hilariously funny.


Agreed while acknowledging that while the film may play hokey with then-popular ideas, it still did more than going for only the viscera by attempting to create a raison d'être for the crazy Molly. Any time popular art attempts to take on complex ideas, even if it does so through flawed machinations not to mention purchasing into the goofiness of psycho zeitgeist that made the people in The Ice Storm so confused, I'm willing to take the film as a history lesson as well as entertainment. I actually like the psychobabble -- it dates the movie while giving some weight to my central thesis.

The best point in Rob's write-up was this:
Quote:
Every week Hollywood throws out empty, vacuous movies that are completely soul less money making exercises in commercialism. Talent drifts in and out through the production cycle, nodody cares and nobody takes risks. This is different.


A side-by-side comparison of Witch to Eat, Pray, Love would undoubtedly convert many people to the cause of Cimber's exploitation film.

I also like how Rob took a still from one of the early scenes of the movie -- in that package is a bomb waiting to vivisect the gents.


Sun Nov 28, 2010 5:38 pm
Post Re: The 'Blood-Soaked, Limbs Hacked Exploitation Cinema' Thread
Good stuff. Great stuff, even. I'll be sure to check this out sometime. Maybe after I get down with that one abomination of a thread (you know the one...) I'll do something similar to this. I could always use a little more bloody penis in my life.


Sun Nov 28, 2010 5:55 pm
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