Night Of The Wild

IMDb
In "NIGHT OF THE WILD", a large meteorite crashes into a quiet town, and pet dogs become mysteriously aggressive. attacking and killing the residents. Teenager Roslyn (Mays) and her old but faithful dog Shep are out camping when the attacks hit. Now separated by the chaos in town and blocked roads, Roslyn and the other members of her family must find each other by fighting back against the blood-thirsty hounds before the dogs take over the whole town and escape becomes impossible.



Rotten Tomatoes
Pet dogs turn mysteriously aggressive, attacking and killing people, after a large meteor crashes into a quiet 


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Cut Snake

IMDb
A pair of ex-cons hatch a scheme to burn down a nightclub in Brisbane.



HollywoodReporter

Sullivan Stapleton, Alex Russell and Jessica de Gouw play the three points of an incendiary romantic triangle in this noirish 1970s-set crime thriller

The Australian idiom "mad as a cut snake" describes either insanity or anger so extreme you don’t want to get near it, and while it might not mean much to audiences beyond Oz, it provides a terrific title for this dark, romantic crime thriller. A homoerotic twist enlivens the familiar dynamic of an ex-con trying to go straight, in more ways than one, when a former cellmate resurfaces to lure him back down a dangerous path. But directorTony Ayres often seems to be aping a vernacular that's foreign to him, making the moments of conventional melodrama more persuasive than the noir-flavored genre package.

On the plus side, Cut Snake is reasonably engrossing thanks to its eye-candy cast of rising stars, notably a ferocious but emotionally exposed performance from Sullivan Stapleton.

Written by Blake Ayshford, the film is set in the retro-sexy mid-'70s, unfolding primarily in suburban Melbourne and at a semi-isolated cottage in the peaceful bushland hills on the outskirts of town. Merv (Alex Russell) is the dream boyfriend who has dropped from out of nowhere into the life of twentysomething Paula (Jessica de Gouw), and while she knows little to nothing about his friends, family or past, marriage is on the horizon.

Enter James (Stapleton), nicknamed Pommie, fresh out of prison in Sydney and looking to pick up where he left off with Merv. Paula soon learns that her fiancé, whom Pommie calls Sparra, spent four years inside on manslaughter charges. She's slower to catch on to the full extent of their past relationship, but to the audience it's instantly clear. The sexual tension of their rough trade/pretty boy connection hangs in the air like storm clouds. The spell lingers especially for Pommie, whose hardened exterior and scary intensity can’t hide his raw hurt when Sparra shows resistance.

Pommie's volatile behavior invites trouble, backing Sparra into a tricky corner. His criminal history, his jeopardized future with Paula, his conflicted loyalty and love for his former cellmate and his own violent instincts force him to take drastic action.

Much of the setup is standard-issue stuff. The film acquires its most potent dramatic currency in the heated emotional exchanges between Pommie and Sparra, when the complexities of their feelings for one another are explored.

For an emerging actor doing muscle movies like 300: Rise of an Empire, Stapleton, who first turned heads as a different kind of thug in Animal Kingdom, doesn't shrink from displays of the torn heart that beats beneath brawny Pommie's '70s porn-star chest hair. His mad-eyed desperation becomes unexpectedly affecting, and Ayres pumps up the character's tragic vulnerability with some Christ-like poses.

Sparra has less definition but Russell locates the shadowy depths churning away as the character battles to regain Paula's trust and protect the life he's trying to create, while at the same time wrestling with his debt to Pommie, and perhaps his conflicted desires. De Gouw registers warmth and sensitivity, though Paula is frustratingly under-developed as the confused third point of the triangle, leaving her little to play beyond anxiety.

It's in the accelerating spiral of crime that the weaknesses of the script and direction become hard to ignore, particularly as cops close in, led by a detective who's all snarling, overstated menace. Plausibility is also called into question at several key junctures. In one particularly on-the-nose sequence, editor Andy Canny cross-cuts between Sparra and Paula having sex as a reaffirmation of their tested bond, while tortured, unpredictable Pommie dallies with a prostitute in a scene that lurches into heavy-handed violence.

It's admirable that Ayres is stretching himself in new directions after Walking on Water andThe Home Song Stories. But he doesn't seem at ease on this turf, making for a drama that's both overwrought and underpowered. While the film has a crisp look splashed with rich colors, the propulsive energy, punchy rhythms and insinuating camera angles that make this kind of material sizzle are present only intermittently.

Cast: Sullivan Stapleton, Alex Russell, Jessica De Gouw, Megan Holloway, Kerry Walker, Robert Morgan, Paul Moder, Jim Russell, Catherine Lacey, Richard Anastasios, Luke Elliot, Brett Swain, Syd Brisbane, Christopher Bunworth, Rosie Traynor, Jack Daye

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Red,White,And Blue

IMDb
A woman attracts the attention of a psychotic former Army interrogator and an emotionally fragile young man caring for his ailing mother.


Rotten Tomatoes
Red, White and Blue is a powerful, visceral and oddly touching thriller/slash movie. It's also very sophisticated storytelling with temporal shifts and three protagonist characters who function as both the killer and the prey. 

Erica (BUFFY THE VAMPIRE SLAYER's Amanda Fuller) is a tough, troubled nymphomaniac with wounds across her soul. For Erica, sleeping with multiple men forms the core of her life, until she meets the mysterious Iraq vet Nate (THE PROPOSITION's Noah Taylor). Despite his quiet air of danger, Nate's the only guy who doesn't immediately want to sleep with her, and the two form a hesitant bond. But in a shocking twist, one of Erica's earlier sexual encounters, with wannabe rock star Franki (Marc Senter), will have unexpected - and devastating - consequences on both of their lives. Hard-edged and uncompromising, the film has already been compared to the works of such disparate filmmakers as Larry Clark and Sam Peckinpah. 

Red, White and Blue is Rumley's follow up to the acclaimed British horror film The Living & The Dead.-- (C) IFC


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The Exorcist (1973)

IMDb
When a teenage girl is possessed by a mysterious entity, her mother seeks the help of two priests to save her daughter.


RogerEbert
The year 1973 began and ended with cries of pain. It began with Ingmar Bergman’s “Cries and Whispers,” and it closed with William Friedkin’s “The Exorcist.” Both films are about the weather of the human soul, and no two films could be more different. Yet each in its own way forces us to look inside, to experience horror, to confront the reality of human suffering. The Bergman film is a humanist classic. The Friedkin film is an exploitation of the most fearsome resources of the cinema. That does not make it evil, but it does not make it noble, either.

The difference, maybe, is between great art and great craftsmanship. Bergman’s exploration of the lines of love and conflict within the family of a woman dying of cancer was a film that asked important questions about faith and death, and was not afraid to admit there might not be any answers. Friedkin’s film is about a twelve-year-old girl who either is suffering from a severe neurological disorder or perhaps has been possessed by an evil spirit. Friedkin has the answers; the problem is that we doubt he believes them.

We don’t necessarily believe them ourselves, but that hardly matters during the film’s two hours. If movies are, among other things, opportunities for escapism, then “The Exorcist” is one of the most powerful ever made. Our objections, our questions, occur in an intellectual context after the movie has ended. During the movie there are no reservations, but only experiences. We feel shock, horror, nausea, fear, and some small measure of dogged hope.

Rarely do movies affect us so deeply. The first time I saw “Cries and Whispers,” I found myself shrinking down in my seat, somehow trying to escape from the implications of Bergman’s story. “The Exorcist” also has that effect--but we’re not escaping from Friedkin’s implications, we’re shrinking back from the direct emotional experience he’s attacking us with. This movie doesn’t rest on the screen; it’s a frontal assault.

The story is well-known; it’s adapted, more or less faithfully, by William Peter Blatty from his own bestseller. Many of the technical and theological details in his book are accurate. Most accurate of all is the reluctance of his Jesuit hero, Father Karras, to encourage the ritual of exorcism: “To do that,” he says, “I’d have to send the girl back to the sixteenth century.” Modern medicine has replaced devils with paranoia and schizophrenia, he explains. Medicine may have, but the movie hasn’t. The last chapter of the novel never totally explained in detail the final events in the tortured girl’s bedroom, but the movie’s special effects in the closing scenes leave little doubt that an actual evil spirit was in that room, and that it transferred bodies. Is this fair? I guess so; in fiction the artist has poetic license.

It may be that the times we live in have prepared us for this movie. And Friedkin has admittedly given us a good one. I’ve always preferred a generic approach to film criticism; I ask myself how good a movie is of its type. “The Exorcist” is one of the best movies of its type ever made; it not only transcends the genre of terror, horror, and the supernatural, but it transcends such serious, ambitious efforts in the same direction as Roman Polanski’s “Rosemary’s Baby.” Carl Dreyer’s “The Passion of Joan of Arc” is a greater film--but, of course, not nearly so willing to exploit the ways film can manipulate feeling.

“The Exorcist” does that with a vengeance. The film is a triumph of special effects. Never for a moment--not when the little girl is possessed by the most disgusting of spirits, not when the bed is banging and the furniture flying and the vomit is welling out--are we less than convinced. The film contains brutal shocks, almost indescribable obscenities. That it received an R rating and not the X is stupefying.

The performances are in every way appropriate to this movie made this way. Ellen Burstyn, as the possessed girl’s mother, rings especially true; we feel her frustration when doctors and psychiatrists talk about lesions on the brain and she knows there’s something deeper, more terrible, going on. Linda Blair, as the little girl, has obviously been put through an ordeal in this role, and puts us through one. Jason Miller, as the young Jesuit, is tortured, doubting, intelligent.

And the casting of Max von Sydow as the older Jesuit exorcist was inevitable; he has been through so many religious and metaphysical crises in Bergman’s films that he almost seems to belong on a theological battlefield the way John Wayne belonged on a horse. There’s a striking image early in the film that has the craggy von Sydow facing an ancient, evil statue; the image doesn’t so much borrow from Bergman’s famous chess game between von Sydow and Death (in “The Seventh Seal”) as extend the conflict and raise the odds.

I am not sure exactly what reasons people will have for seeing this movie; surely enjoyment won’t be one, because what we get here aren’t the delicious chills of a Vincent Price thriller, but raw and painful experience. Are people so numb they need movies of this intensity in order to feel anything at all? It’s hard to say.

Even in the extremes of Friedkin’s vision there is still a feeling that this is, after all, cinematic escapism and not a confrontation with real life. There is a fine line to be drawn there, and “The Exorcist” finds it and stays a millimeter on this side.

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And Veoh
Ans Moviesub

IMDb
When passengers on a train are attacked by a creature, they must band together in order to survive until morning.



LetterBoxd

Howl

 

2015 Directed by Paul Hyett

Synopsis

LAST TRAIN. FULL MOON. ALL CHANGE

When passengers on a train are attacked by a creature, they must band together in order to survive until morning.

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Strange Blood

IMDb
When a brilliant but obsessive scientist goes to extremes to develop a universal cure for all disease, he finds himself infected with a bizarre parasite that begins to transform him into a bloodthirsty madman. Time running out, he must find a way to stop the monster that is growing within and prevent the rest of the world from being "cured."



Horror Society

When I was younger I loved a good vampire film.  Being born in 86 was the perfect time to roll into the vampire films of the time.  When I was 7 or so the VHS boom was in full force and I was consistently renting vampire films when I wasn’t in the mood for other films.  The movies Fright Night, The Lost Boys, Buffy the Vampire Slayer, and Children of the Night were some of my favorite films to rent.

Vampires was still a sub-genre I loved until today but that has changed with the change of pace vampire films has went through with the release of the Twilight Saga turning them into another romantic staple.  Recently, I was sent info on the upcoming vampire film titled Strange Blood.  This one really intrigued me so I reached out for a review copy and they were kind enough to send me a review copy.

**Spoiler Alert**The film begins with Detective Song (Lim) as he interrogates the beautiful Gemma (Bard).  He is showing her photos of dismembered bodies  when he starts to ask her some questions.  We then learn that she was an assistant to Henry.  Henry was a scientist who was searching for a cure to end all sickness.

He has created a small creature and injected it with every known disease and ailment as a way to come up with a cure.  What he did not count on was the creature developing a defense mechanism and shooting spikes into his hand when he tried to draw blood from it.  He is fine as first but over time he starts to become sick and craves blood.  He starts killing other people but finally sets his sights on Gemma where he infects her before setting himself on fire.**Spoiler Alert**

I miss the days when vampire films were story rich and depicted the vampires as real monsters and not just blood-thirsty pretty boys.  The best vampire films relied on story and not the vampires themselves.  For most, the vampires were just the icing on the cake.  Strange Blood takes us to a time when the story was the focal point of the film with the vampire/vampires coming in second.

The acting in this one is perfect.  The chemistry between Brettenaugh and Bard is perfect and the film hinged on that.  The two are together almost 90% of the time so any unnatural interactions would have ruined the film.  These two feed well off each other and it would be a damn shame if they do not work together soon.

The story for this one is a rather unique spin on the vampire sub-genre.  The idea of a man creating life only to be portrayed by the creature and turned into a child of the night is pretty fucking poetic.  Sadly, there is several scenes that are not crucial to the plot that just seem to drag on and on.  Originality somewhat took the backseat while dialogue rich scenes stole the show resulting in a film that is slow to watch at times.  This somewhat ruins what could have been an amazing film that is extremely dark and story rich.

Finally, the film does have a few on screen kills but they are nothing that impressive.  With a story like this I would expect some very unique vampire kills but those were not given to us.  Overall,Strange Blood is a very unique film that has the story and cast but lost something during the execution.  This one deserves a watch!

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Final Destination 5

IMDb
Survivors of a suspension-bridge collapse learn there's no way you can cheat Death.


RogerEbert
"Final Destination 5" is one of those rare movies where the title itself is a spoiler. Yes, everyone in the movie dies, except for Coroner Bludworth. But you knew that because of the previous four films. The increasingly challenging task for the filmmakers is to devise ever more horrible and gruesome methods for them to be slaughtered.

"FD5" shows a lot of ingenuity. The recurring theme this time will be skewering and lots of it. The characters have names but they might as well be called after items for a shish kebob: lamb, chicken, mushrooms, onions, tomatoes, some nice peppers. (I like to use green, red and yellow.)

We get a tip-off in the opening credits, which use 3-D to thrust things at the audience. Before we have seen so much as a human face on the screen, we have been assaulted by skewers, knives, rods, stakes and shards of glass. This is the Ping-Pong Effect elevated to aggressive excess, a reminder that if we haven't already put on our annoying dark glasses, this is the time to bid farewell to bright colors. We have already bid farewell to the 3-D "premium" charge.

The actors in a movie like this are essentially doing product placement. By getting their names and faces out there in a splatter movie, they can perhaps catch the eye of a casting agent and get a shot at a decent film. They have studied their craft. They have struggled and dreamed. They have attended countless auditions. Now at last they have a role in a major Hollywood release, and can call home: "Mom! I get impaled by the mast of a sailboat after I fall off a bridge!"

The fact is, the performances here are all effective. The actors bring more to the film than it brings to them. The caliber of performance in Gruesome Death Movies has considerably improved since Hershel Gordon Lewis made "The Gore-Gore Girls." The direction by Steven Quale is efficient, and the special effects do an excellent job of beheading, incinerating, vivisecting, squishing and so on.

I am amused by this credit: "Screenplay by Eric Heisserer, based on characters created byJeffrey Reddick." Reddick of course was the writer of the original "Final Destination" (2000). Since all of the characters in that film were dead by movie's end, his credit might more reasonably have read, "based on characters killed by Jeffrey Reddick."

I speak too soon. Bludworth (Tony Todd) always survives, his task to find ever more ominous ways of saying "I told you so." Reddick should also be given full credit for devising the ingenious logic of the first film, which consisted of many proofs that we can't cheat death. This truth struck the original characters with a force that has now been much diluted; you don't appear in a "Final Destination" movie and expect to get out alive.

I expect this movie to make a lot of money at the box office, spent by fans eager to see still more cool ways for hot young characters to be slaughtered. My review will not be read by any of these people. They know what they enjoy. They don't want no damn movies with damn surprises. I am always pleased when moviegoers have a good time; perhaps they will return to a theater and someday see a good movie by accident, and it will start them thinking.

Rotten Tomatoes

MOVIE INFO

In Final Destination 5, Death is just as omnipresent as ever, and is unleashed after one man's premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death's sinister agenda. -- (C) Warner Bros

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The Cradle Of Shadows

Eye On Films
In the heart of an abandoned bunker, parapsychologists are mandated to investigate strange phenomena. In a frightening world they discover the unthinkable and awaken a dark force. An infernal hunt in darkness will begin ...



Xmovie8
Storyline: In the heart of an abandoned bunker, psychologists investigate strange phenomena. In a frightening worl,d they discover the unthinkable and awaken a sinister force. An infernal hunt in darkness will begin.




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Ghost Light

IMDb
A group of actors sneak into a theater overnight to see if they can experience any of the alleged ghost sightings.


Rotten Tomatoes

When a key prop goes missing during an amateur theater company performance, the actors suspect the theater ghosts are acting up. The group decides to spend the night in the eccentric old building, watching for paranormal activity. Overhearing their plan, a band of disgruntled techies decides to tag along, sight unseen, bent on mocking the despised thespians by scaring up some special effects. But they aren't the only ones plotting. As the evening unravels, regrets, anxieties and hidden agendas bubble to the surface, testing friendships, romances, and future happiness. Blending comedy, romance, suspense, and things that go bump in the night, "Ghost Light" explores the things that truly haunt us.


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Hardcore

IMDb
A conservative Midwest businessman ventures into the sordid underworld of pornography in California to look for his runaway teenage daughter who is making porno films in California's porno pits.



RogerEbert

The man is played by George C. Scott, the girl by Season Hubley. They have moments in the movie when they talk, really talk, about what's important to them and we're reminded of how much movie dialogue just repeats itself, movie after movie, year after year. There's a scene in "Hardcore" where the man (who is a strict Calvinist) and the prostitute (who began selling herself in her early teens) talk about sex, religion, and morality, and we're almost startled by the belief and simple poetry in their words.

This relationship, between two people with nothing in common, who meet at an intersection in a society where many have nothing in common, is at the heart of the movie, and makes it important. It is preceded and followed by another of those story ideas that Paul Schrader seems to generate so easily. His movies are about people with values, in conflict with society. He wrote "Taxi Driver" and "Rolling Thunder" and wrote and directed "Blue Collar." All three are about people prepared to defend (with violence, if necessary) their steadfast beliefs.

The Scott character is a fundamentalist from Grand Rapids, Michigan Schrader's own hometown. The opening scenes establish the family setting, at Christmas, with a fairly thick theological debate going on around the dinner table. (The small boy listening so solemnly, Schrader has said, can be taken for himself.) A few days later, Scott's daughter leaves home for a church rally in California. She never returns. Scott hires a private detective (Peter Boyle) to try to find her, and Boyle does find her in an 8-millimeter porno movie. Can it be traced? Boyle says not: "Nobody made it. Nobody sold it. Nobody sees it. It doesn't exist."

But Scott vows to follow his daughter into the sexual underworld and bring her back. His efforts to trace her, through San Francisco and Los Angeles and San Diego, make "Hardcore" into a sneakily fascinating guided tour through massage parlors, whorehouses, and the world of porno movies. Schrader sometimes seems to be having it both ways, here: Scott is repelled by the sex scenes he explores, but is the movie?

That doesn't matter so much after he meets Niki (Season Hubley), who might know some people who might know where his daughter is. She is in many ways like all the other lost young girls who drift to California and disappear. But she has intelligence and a certain insight into why she does what she does, and so their talks together become occasions for mutual analysis.

She has a deep psychological need for a father figure, a need she thinks Scott can meet. She also has insights into Scott's own character, insights his life hasn't previously made clear to him. There's a scene near the waterfront in San Diego that perfectly illuminates both of their personalities, and we realize how rare it is for the movies to show us people who are speaking in real words about real things.

The movie's ending is a mess, a combination of cheap thrills, a chase, and a shoot-out, as if Schrader wasn't quite sure how to escape from the depths he found. The film's last ten minutes, in fact, are mostly action, the automatic resolution of the plot; the relationship between Scott and Hubley ends without being resolved, and in bringing his story to a "satisfactory" conclusion, Schrader doesn't speak to the deeper and more human themes he's introduced. Too bad. But "Hardcore", flawed and uneven, contains moments of pure revelation.

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American Guinea Pig: Bouquet of Guts and Gore

IMDb
From the very start of this film you are lead by hand and soul/spirit through the slow and morbid crawl of every cut, hack, tear, and gouge of the human destruction on display... the cameras never cut away... yes, the 73 minutes is principally flesh, blood, bone, and the madmen tearing it to pieces... It is an unrelenting celebration of OTT gore/violence intended for those desiring wall to wall hellish blood lusting mayhem...and the incredible rendering of the visuals viewed through ACTUAL Super 8 film are incomparable, as well as the hyper definition of VHS... all F/X work done by this team will set new standards for what Hard gore in films need to rise to... and the sustained hopeless atmosphere and grim minimalist score contribute greatly to the sense of total inescapable darkness.




HorrorNews

SYNOPSIS:

Japan’s darkest secret has become America’s newest nightmare

REVIEW:

If you’re reading this review, you’re no doubt already familiar with the legendary Guinea Pig films from Japan. If not, long story short, they’re a group of hardcore gore films from Japan, made in the 1980’s, definitely not for the squeamish, that pretty set new standards for how disturbing and depraved a horror film can be. The story of Charlie Sheen contacting the FBI regarding watching a snuff film is synonymous with these classics. They were distributed by Unearthed Films, a film company known for being one of the kings of disturbing cinema (they’ve also released films like Red Room, Slaughtered Vomit Dolls, The Coma-Brutal Duel, and a couple of Ryan Nicholson’s most recent films). To make this story go full circle (and to finally get to the review at hand), it’s only fitting that president of Unearthed Films, Stephen Biro, make his directorial debut with a very brave effort, American Guinea Pig: Bouquet of Guts and Gore.

But he’s not alone. Biro, who obviously knows a thing or two about the disturbing, teamed up with James Vanbebber (Deadbeat at Dawn) and special effects master Marcus Koch (see his work in everything from100 Tears to Rot to Circus of the Dead) to try and bring all of you sick and twisted extreme horror fans something special. Do they succeed? Let my review here add to the collective “Yes!”

Start with two girls (Amy, played by Caitlyn Dailey, and Erika, played by Ashley Lynn Caputo fromAmerikan Holokaust and Naughty, Dirty, Nasty) being followed by someone the we don’t see. They reach their car and get in, and then a guy appears in the backseat with a gasmask on and unleashes some kind of smoke/gas combo that knocks them out, and he drives them away. And it’s at this point that we get a version of the title screen from the original Guinea Pig films, but reworked to show this as the American edition. I imagine at this point, had I watched this in a theater with a bunch of like-minded sickos, there would have been a minor eruption of applause. But slow down, fellow viewers, as those nostalgic butterflies floating in your stomach will soon be coated in bile and working their way up your throat.

To say this is disturbing is an understatement. Let me paint you a picture: two women and chained down to tables by their throats. A long table covered with an assortment of tools, weapons, drugs, and video equipment is at their feet. Four men wearing masks circle the tables, three of them with cameras, the fourth, the one known as ‘The Actor,” a hulking beast with a Baphomet mask on (played by Eight the Chosen One). While the others keep the cameras rolling, The Actor’s job is simple: carve the women up into pieces amidst a barrage of The Director’s (Scott Gabbey) instructions (lines like “do it slower, make me hard” and a constant and impatient demand to “start on the left, never on the right” are the closest to the very darkest of humor you’ll find here). And that is exactly what you get for the next hour 

There are some very well made effects in American Guinea Pig: Bouquet of Guts and Gore, with a couple parts that made even this jaded reviewer either look a little closer to make sure it wasn’t real or, during a certain scene involving an eye, watch through a gap between my fingers (eyes do it to me every single time). I’d compare the work to the original Flower of Flesh and Blood as well as to Niku Daruma, but with updated effects, new twists, and what, to me, seems like a more sinister storyline. The women are butchered one by one (starting at the left, of course), with the help of a drug that numbs them and a few drops of LSD that takes their minds elsewhere. Limbs are severed, bones cracked and crunched, flesh torn from muscle, teeth broken out. About one third of the way through, we find out that one of the cameraman, the one referred to as “VHS” (played by David Hood), is not there of his own free will, but The Director reminds him that they have his children.

As I said, the gore in American Guinea Pig: Bouquet of Guts and Gore is extreme and constant; as soon as the first cut is made, we’re not leaving the room until we’re finished with not one, but two victims. And personally, I don’t even think that’s the horrifying part. What’s more horrifying is the idea of what they’re doing, and why they’re doing it, as we get little bits of info here and there, as well as a little bit of behind the scenes at the end (which is where “The Editor,” played by James Vanbebber, makes his appearance). Well, and of course, there’s the hint of something far worse just after that, but that’s for you to find out for yourself.

There are some very well made effects in American Guinea Pig: Bouquet of Guts and Gore, with a couple parts that made even this jaded reviewer either look a little closer to make sure it wasn’t real or, during a certain scene involving an eye, watch through a gap between my fingers (eyes do it to me every single time). I’d compare the work to the original Flower of Flesh and Blood as well as to Niku Daruma, but with updated effects, new twists, and what, to me, seems like a more sinister storyline. The women are butchered one by one (starting at the left, of course), with the help of a drug that numbs them and a few drops of LSD that takes their minds elsewhere. Limbs are severed, bones cracked and crunched, flesh torn from muscle, teeth broken out. About one third of the way through, we find out that one of the cameraman, the one referred to as “VHS” (played by David Hood), is not there of his own free will, but The Director reminds him that they have his children.

As I said, the gore in American Guinea Pig: Bouquet of Guts and Gore is extreme and constant; as soon as the first cut is made, we’re not leaving the room until we’re finished with not one, but two victims. And personally, I don’t even think that’s the horrifying part. What’s more horrifying is the idea of what they’re doing, and why they’re doing it, as we get little bits of info here and there, as well as a little bit of behind the scenes at the end (which is where “The Editor,” played by James Vanbebber, makes his appearance). Well, and of course, there’s the hint of something far worse just after that, but that’s for you to find out for yourself.

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