Page A ~ Page B~ Page C ~ Page D ~ PageE ~ Page F ~ Page G ~ Page H ~ Page I ~ Page J ~ Page K ~ Page L~
~Page M
~ Page N ~ Page O ~ Page P ~ Page R ~ Page S ~ Page T ~ Page U ~ Page V ~ Page W ~ Page Z ~

2007 – NR – 81 Min.
D: Nathan Hynes & Chris Power
S: Anthony Alviano - Roger King
DVD provided by R Squared Films
Screener – No extras

LONG PIGS is a faux-documentary where two filmmakers attempt to chronicle the life of a cannibalistic serial killer named Anthony McAlister. If the idea of a documentary crew following around a serial killer sounds familiar, then you have probably seen or at least heard of the French film, MAN BITES DOG. A misconception could be made that LONG PIGS is just a more modern knock-off of MAN BITES DOG (a film way ahead of its time), but in fact LONG PIGS’s only resemblance to its French counterpart is their shared premise. Unlike MAN BITES DOG, LONG PIGS seems like a real documentary (with a few minor exceptions towards the end of the film). The “filmmakers” are really trying to make a “documentary” that digs deep into the psyche of a serial killer, rather than just follow him around and filming his exploits. In fact, because we get to see how McAlister ticks, the film is all the more disturbing. Yet the kicker here is not how disturbed McAlister is, but how the “filmmakers” have no problem following him around and filming as he kills, carves, and eats his victims—almost blissfully unaware that they are aiding and abetting a murderer. The real directors of the film, Nathan Hynes and Chris Power do an excellent job here for their first full-length film, as do the actors portraying the “real life” characters. As a faux-documentary it skips the tongue-in-cheek campiness and cuts right to the bone (yes, pun intended). Highly recommended. – Fred McKennon

1978 - NR - 86 Minutes
D: Franco Prosperi
S: Ray Lovelock - Florinda Bolkan - Laura Trotter - Sherry Buchanan
DVD Provided by Severin Films
Widescreen/Dolby Surround/Mono
Extras: Featurette/Interview with Ray Lovelock - Trailers

Three scumbag, cop-killing bank robbers are on the run. Unable to escape road blocks, they need an out of the way place to chill and stay out of sight. On a beachfront road, they head up the hill to a large house on a cliff and break in. To their surprise, the place is filled with teenage beauties that belong to a convent school run by nun teacher (Florinda Bolkan). This seems ideal to the men for the time being, but soon all kinds of complications set in for both sides of the house. The men torment the ladies, resulting in emasculating ridicule to rape and some of the girls fight back with a stab to leg, trying to poison the gangsters and so on. While the English title plays on such movies as LAST HOUSE ON THE LEFT and LAST HOUSE ON DEAD END STREET, for which this moment of exploitation shares some minor similarities, it owes more in tone and style to Fernando Di Leo's TO BE TWENTY. No mistake however, this isn't as good or strong as TO BE TWENTY. The rape scenes are in slow motion, revenge is brutal and there's enough onscreen depravity to make most somewhat uncomfortable. In its defense, the movie is very well made, shot and directed. The Soundtrack by Roberto Pregadio (WHITE CANNIBAL QUEEN) is excellent and was originally including as a separate CD in the foreign release, but is not included here as an extra. Overall, this is a very good release for those really into this end of the Italian Crime genre, but those getting started, you may be better off with the aforementioned TO BE TWENTY or Mario Bava's RABID DOGS. Definitely a worthwhile release. - Mark Engle

2007 – NR – 66 Min.
D: Dana Holyfield
S: Many Louisiana locals.
DVD courtesy of Retroflicks
Fullscreen / Dolby Digital 2.0
Extras: An enhanced examination of Harlen E. Ford’s reel of film.

You might be wondering to yourself… “What in the name of Charles B. Pierce is the Honey Island Swamp Monster?” Fair question. This documentary sets out to provide an in-depth answer. Some 40 years back, Dana Holyfield’s grandfather (Harlen E. Ford) allegedly had a run-in with an unknown creature deep in the Louisiana swamplands. Since then, the legend has continued to grow and Miss Holyfield decided to make a movie about it. Mostly made up of interviews with people who claim to have encountered the being in one form or another, there are also a few man-in-hairy-suit clips thrown in to keep things lively. A couple of stand-out moments… Sounds of the whatever-it-is are caught during an evening exploration that results in the hurried evacuation of some freaked-out teens partying nearby. Plaster track-casts (found while filming) are provided to an excited crypto zoologist for examination. You’ll be treated to several such moments and that’s a good thing. The locals have interesting and varied takes on all of this, but the general consensus seems to be that everybody should just leave them/it alone. An unexpectedly entertaining project that culminates in the discovery (thanks to Holyfield’s grandmother) of the fascinating reel of film shot all those years ago that appears to capture the Swamp Monster walking through the brush. The Legend of the Honey Island Swamp Monster is exactly the kind of thing you’d excitedly rush off to catch at the drive-in back in the good old days. Fans of The Legend of Boggy Creek and its like should absolutely not hesitate. Available exclusively (for now) from www.retroflicks.com. – Michael Mackie

THE LAST SUPPER aka Saigo No Bansan
2005 – NR – 92 Min.
D: Osamu Fukutani
S: Masaya Kato – Katsuya Kobayashi – Fumina Hara – Zuki Lee
DVD Provided by MTI Home Video
Preview disc – Edition details N/A

Grisly and mildly pretentious Japanese tale concerns a renowned plastic surgeon with insatiable appetite for young girls. An outcast in his school days, it wasn’t until he first consumed stolen body fat that he felt complete and satisfied. A changed and confident man, Yuji Kotorida (Kato) rises to notable fame in his field. Constantly feeling the desire to feed on human flesh drives him to distraction so new avenues must be explored. The predatory doctor’s refrigerator is soon filled to bursting with leftover human heads and the sensual and spiritual fulfillment gained from consuming numerous victims provides strength enough to overcome the daily grind. An obsessed stalker (“You are a God to me!”) who has clearly left reality behind and some suspicious cops are always close at hand to make things complicated. And perhaps that online diary wasn’t such a wise decision after all. Shot on video strangeness offers a fair amount of style but is so lacking in depth that nothing registers emotionally. This often translates into disconnected boredom because there simply isn’t anything to hold onto. Scenes featuring a Hong Kong cannibal club and the special woman he meets there are interesting, as is the bizarre pro-cannibal stance Last Supper embraces, but as a whole it just lays limp while enticing religious and mystical references hover in the background and go nowhere. Gore is plentiful enough with F/X ranging from good to totally unconvincing. Conceptually disgusting, occasionally disturbing, but mostly disappointing and unoriginal, The Last Supper is worth a look for Japanese horror hounds and curious cannibal completists. – Michael Mackie

2007 – R – 94 Min.
D: Jesse Johnson
S: Don “The Dragon” Wilson – Katee Sackhoff – Keith David – Dawnn Lewis – Bokeem Woodbine
DVD Courtesy of Echo Bridge Home Entertainment
Preview disc – Edition details N/A

Wilson portrays Tallis, the last survivor of the most elite fighting force on the planet. He’s been trained since birth, altered, enhanced, and has a talking rifle named Angel. During the course of the big war between humans and robotic drones, the rest of Tallis’s outfit, as well as a large part of the human race, were wiped out. A resistance fighter (Sackhoff) is saved and nursed back to health by Tallis after her group is massacred. They join forces and plan to seek out the main network center controlling the androids, bring it all down, and hopefully save what’s left of the world. You’ll be reminded of a lot of things while watching this violent sci-fi-actioner, but Sentinel is definitely an entity unto itself. Some ambitious battles, a cool soundtrack conveying an epic nature, and the occasional exploding head all contribute to an uncomplicated good time if you are into this kind of thing. Wilson has walked down similar paths before with titles such as Future Kick and Cyber Tracker, but this time we get some decent atmosphere with the ass kicking. Style and technique help the project rise above budgetary restrictions, though there is the occasional CG F/X display that is difficult not to think of as… obvious. This is better than expected entertainment, and not just for dedicated Wilson fans either. Misleading cover attempts to ride Galactica gravy train by prominently displaying an image of Sackhoff with the tagline… “The future is riding on one woman”. Wilson, though alone during climactic battles in the movie, is nowhere to be seen. Nice. All too common marketing garbage aside, The Last Sentinel is worth looking into. – Michael Mackie

2003 – R – 84 Minutes
D: David Morwick
S: David Morwick, Vigdis Anholt, Elizabeth Callahan, Jillian Wheeler, Frank Ridley
DVD Provided By Three Stone Pictures
Widescreen/Dolby Stereo
Extras: Screener - None Available

Writer/director/editor/producer/lead actor David Morwick tries his hand at slasher flicks with LITTLE ERIN MERRYWEATHER. The results are mixed. First off, given the number of hats Morwick wears, this is more a “Hey, look what I did!” showcase piece than an actual horror project. After a nice opening scene, the movie trails off until it finally ends up wallowing in mediocrity. The story is about a slasher run amuck on a college campus. A reporter for the university paper attempts to explore the case until he can solve the murders. But the closer he gets to the answer, the more danger he finds himself facing. Morwick’s direction is decent technically, but it seriously lacks a creative signature. The acting is hit and miss, and when it misses, it does in a big way. To be fair, Morwick’s performance is rather good but not riveting. Some of the so-called college students seem like they’re straining to look younger, not to mention there is an ample amount of expository dialogue. Worse yet, the movie simply isn’t scary. It lacks both chills and gore, and it hasn’t much in the way of mystery, thus damaging what suspense there is. And even worse than that, there is a nonsensical clichéd tag at the end. If the viewer is a slasher flick junkie, then Morwick’s feature is worth a look. Otherwise, this is a tame venture into the world of slasher flicks. – Craig Hamann

2008 - NR - 90 Min.
D: Farhad Mann
S: Shannen Doherty - Michael Shanks - JR Bourne
DVD Provided by Anchor Bay Entertainment
Anamorphic/Dolby Surround 5.1
Extras: Trailers

There's an ancient tribe of Aztec warriors hidden inside and deep below the Grand Canyon. Yes, if you can get past that, you may just be able to get into LOST TREASURE. It's the turn of the century (early 1900's) and Dr. Jordan and his team have disappeared somewhere in the Grand Canyon. Daughter Susan (Doherty), also an archeologist puts together a party to go find daddy. Along for the ride is Stargate scientist Michael Shanks, who, despite playing a similar type of character (smart, nerdy, etc.) is completely miscast. Either way, they find a survivor of the original expedition and enter the land of the Aztecs, along with the demon god/dragon they have worshiped all these years. Will they save daddy and find their way back? Not without some casualties. Surprisingly enough, since this is one of those Scyfy efforts, there is some abrupt gore, including a decent beheading. The demon is dragon like, but very CGI. The acting is rough and the sets are hokey. Basically, there isn't much to recommend it. Feeling a little adventurous on a Sunday rainy afternoon, and it probably won't hurt too much. Although I kept hitting the timer button to see how much time was left before I could watch something much better, like Cohen's Q. - Mark Engle

1969 - NR - 72 Minutes
D: Malcolm Leigh
S: Alexander Sanders
DVD Provided by VCI Entertainment
Fullscreen/B&W/Dolby Digital
Extras: Trailers

In the late 60's, Britain did their best to compete in the exploitation market. Finding a need to flash as much flesh as possible, many directors tried to legitimize or make a case for showing such nudity. That's pretty much what documentary filmmaker Malcolm Leigh did with LEGEND OF THE WITCHES. At least on the surface. By today's standards, if you watch this look into the history of British witchcraft, you might not believe it (oh, there's tons of nudity), but the original prints of this education of Wicca circulated mostly in sex grindhouse theaters and touted in sex magazines of the time to have more nudity than most nudie cutie flicks being banned. Only I can imagine that perverts and the over coat and cloak crowd would be disappointed overall. This is a well made documentary that is actually seems to play accurately while showing an artistic eye behind the camera. We go from the birth of Diane and Lucifer (the sun or dawn) up through Christianity's devouring of Wicca's places of worship and holidays and into the present of current covens and how they work taking in a new member. This becomes the central part of the movie as we see a naked guy being lead around by an attractive naked girl through water, air, fire, etc. until he is bound by the entire coven and brought into the fold. These are obviously actors of some sort (most likely local theater, or maybe even hired down the street at the local pub). The Narration is very informative, not being a professional on the matter myself, I can't say how accurate it was, but it definitely kept my interest. My only complaint was that there was way too much in the tally-whacker department bouncing around like Harry Potter wands at a convention. If you can get past that, enjoy the subject matter or documentaries that are like a R rated episode of IN SEARCH OF... Definitely check it out. - Mark Engle

Page A ~ Page B~ Page C ~ Page D ~ PageE ~ Page F ~ Page G ~ Page H ~ Page I ~ Page J ~ Page K ~ Page L~
~Page M
~ Page N ~ Page O ~ Page P ~ Page R ~ Page S ~ Page T ~ Page U ~ Page V ~ Page W ~ Page Z ~