Posts Tagged ‘massacre

28
May
18

Wyrmwood: Road of the Dead (2014) High Octane Corpse Grinder

 

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a Primal Root written review

“You get to see what the Adults do after dark…” – The Doctor, Wyrmwood: Road of the Dead

The zombie apocalypse has been done to fucking death. I used to eat every film, every book, every piece of pop culture I could find related to the re-animated, flesh craving undead ever since I unearthed a VHS copy of both George A. Romero’s classics Night of the Living Dead (1968) and Dawn of the Dead (1978) from a  bargain bin inside the Tallahassee Mall back in the early to mid 90’s when the zombie genre was far from thriving. I was infatuated, tracking down as much as I could back int he day before there was a computer, let alone the internet, in our house. Fast forward over twenty years later, and not only has the living dead genre risen from it’s shallow grave and crawled back to life, but the hordes of these shambling corpses have practically taken over pop culture to point they are appearing of throw blankets, children’s films and are the central issue in long running, incredibly repetitious television programs.

To me, the zombie genre has been irrelevant and tiresome for decades. The last time a living dead film really got me revved up it w=as probably Danny Boyle’s 28 Days Later, when a filmmaker decided to create an updated version of the creature and new rules were invented. It livened things up and gave us something new and truly interesting within a genre that was just beginning to come back into sharp focus within the cinematic landscape. But, before long, it was the same old horde of zombies, following the same old rules, chasing the same rag tag group of thieves and misfits. It’s tired, done, to death, and no real fresh blood has been injected to give this world something to interest me.

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That all came to an end the other night when I sat down to a viewing of the 2014 film entitled Wyrmwood: Road of the Dead. An Australian independent horror film that took nearly four years to create and touts itself as”Dawn of the Dead Meets Mad Max.” The film has more unrestrained energy, ferocious creativity and enthusiasm for the genre than I’ve come across since Peter Jackson’s Dead Alive aka: Brain Dead from 1992 and Drew Bolduc & Dan Nelson’s The Taint from 2011.  Wyrmwood is the living dead film I have been craving for 25 year, a film so fun, so heartfelt and so genre defying while staying true to it’s spirit, it not only revived my love and hope for a genre that has been the lackluster, stale floating turd of horror for far too long. Wyrmwood is the new high watermark of the genre. Seriously, it is THAT good. This mother fucker IS the fiery, fresh shot of new blood the likes of which I never even dreamed I’d see again.

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Wyrmood: Road of the Dead starts off on familiar territory, we are introduced to our central characters which will be Barry (Jay Gallagher) a bearded, well built handy man, husband and father of a cute and rambunctious young daughter who is woken out of a sound sleep by the sounds of a society starting to collapse just outside the door to his warm suburban home. Brooke (Bianca Bradey), his sister who happens to be a makeup artist working on a photo shoot with two other young ladies when the outbreak begins, and Benny (Leon Burchill) who is on a camping trip with his mates when they all witness the plethora of shooting starts lighting up the sky the night the outbreak begins. All prove to be more than capable of defending themselves against these living dead, human meat chomping, ghouls, but it soon becomes apparent that these zombies are not playing by the familiar rules set up by George Romero 40 years ago. No, these foul breathed carnivorous creeps are something entirely different.

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Sure, some of the same rules apply, obliterate their head and they drop like a sack of monkey cum, but there seems to be no rhyme or reason as to how people are becoming infected, not only that, but there’s a strange new mystery revolving around which certain machines have stopped functioning. The story splits off into two different tales as we follow Barry and Brooke on their struggles to survive. After Barry loses both his wife and daughter, he is left suicidal, but soon begins to cross paths with other survivors, discovers answers to mysteries about their current biblical Doomsday situation, and steadily gains back his will to live by harnessing his grief and rage into being proactive and moving forward into this new, horrifying world while trying to protect those around him. Brooke, on the other hand, is abducted, drugged and experimented on by a disco dancing wack job in a hazmat suit who is part of a roving pack of the Australian military, it would seem, who continuously inject her with a serum  created using the blood of those infected with this reanimated virus which results in some very unexpected consequences.

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If you think any of what I’ve told you above is a spoiler, trust me, they are not by a LONG shot. I went into Wyrmwood knowing nothing at all about it and the film left me absolutely thrilled and slack jawed by it’s immense creativity and bold new and totally out of left field rules. On several occasions Wyrmwood completely inverts audience expectations and leaves you wondering just where the Hell the filmmakers are planning to take you. It’s a spirit and kind of maniacal glee in a team of creative thinkers always one upping themselves and deciding to crash right ahead down the road less traveled and blazing a whole new path that they know will leave the audience on the edge of their seats and smiling ear to ear. Several time during our viewing, Bootsie Kidd and I turned and looked at one another, eyes wide, gapping smiles and laughing with absolute joy at just how insanely intelligent, hilarious and deeply human this Wyrmwood: Road of the Dead was. Not afraid to introduce likable characters and then rip them away from us brutally, and often with fates worse than death, and allowing viewers to feel the gravity of these losses. Sometimes you might laugh at the absurdity of the loss, but there’s almost always a moment of sorrow for them being gone.

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I really don’t want to say a whole lot more about Wyrmwood: Road of the Dead, and I STRONGLY advise you don’t watch the trailer and simply go in blind. I can guarantee it will be a far more rewarding experience, as the trailer spoils pretty much everything that’s surprising and original about the film itself. I know Wyrmwood likes to advertise that it’s like Dawn of the Dead meets Mad Max, but to me, it feels almost like a spiritual offspring of Sam Raimi’s The Evil Dead meets Peter Jackson’s early work, specifically Bad Taste and Dead Alive aka: Brain Dead. It’s a go for broke, low budget, independent labor of love. The kind of love you can feel just oozing from this thing like so much maggot filled vomit from the black, rotten, gob of and long deteriorating zombie. Truly, it’s the kind of film I could see Oscar winning director Peter Jackson making today is he were to get back to his roots ala: George Miller with Mad Max: Fury Road. It’s honestly that fucking impressive.

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Wyrmwood: Road of the Dead is the low budget high energy and inspiration action gore fest the genre has been lacking in for what feels like fucking ages. I happen to know the film’s director, Kiah Roache-Turner has a new film coming out this year entitled Nekromancer, a tale about a man who hunts down and destroys demons in the internet. After watching the absolute joy that is Wyrmwood: Road of the Dead, I am chomping at the bit to see how Kiah will subvert the genre and surprise us in the future.

I am awarding Wyrmwood: Road of the Dead FIVE out of FIVE Dumpster Nuggets.

Check this breathless and badass motherfucker out, Gang.

Stay Trashy!

-Root

 

 

09
Jan
16

Frankenhooker (1990): Let me just find my wallet…

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“WANNA DATE? LOOKIN’ FOR SOME ACTION? NEED SOME COMPANY?” – Patty Mullen, Frankenhooker

a Primal Root written review

My deep abiding admiration of filmmaker and exploitation cinema connoisseur, Frank Henenlotter, cannot be overstated. The man has created some of the of the most endearing, disgusting, weird and darkly hilarious films to ever grace a grind house screen.  I’ve done a Rotten Review of 1982’s Basket Case, Henenlotter’s incredible debut feature, I’ve written up a review for his masterpiece, 1988’s Brain Damage, so today I would like to discuss the maestro’s beautiful, heartfelt tale of sluts and bolts, 1990’s Frankenhooker . 

Frankenhooker tells the intimate love story of Jersey Electrician and part time mad scientist,  Jeffrey Franken (James Lorinz) and his “girthy” bride to be Elizabeth (the gorgeous and talented Patty Mullen). We meet this lovely young couple on her Father’s birthday, JEffrey surprises his soon to be Father-in-law with a remote control lawnmower. Tragically, in the process if demonstrating the new remote controlled lawnmowers functionality, Elizabeth manages to run herself over with the machine splattering herself all over the garden gnomes and leading to one of the greatest local news segments ever created. I’ll go ahead and treat you to my favorite quote:

“In a blaze of blood, bones, and body parts, the vivacious young girl was instantly reduced to a tossed human salad, a salad that police are still trying to gather up, a salad that was once named Elizabeth.”

And this is before the opening credits even begin! We find Jefferey sometime later in a state of deep depression, cutting himself off from the world and planning to revive his fiancee whose head he managed to save in an upright freezer filled with a special estrogen based elixir he’s created that keeps her deceased head perfectly preserved, maintaining it;s freshness until he can find just the right body donor.

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A quick trip to New York city and a meeting with a pimp named Zorro lands Jeffrey right in the middle of prostitute nirvana where he hopes to cultivate all his raw material. Jeffery dreams up a master plan to put hookers down using a form of “Super Crack” he himself has created for this moment. After and hour of measuring all the sleazy, adorable hookers, Jeffry has a crisis of conscience and decides he can’t go through with it. Thankfully, as hookers are drawn to crack like kittens to catnip, the hookers steal his stash, start puffing away and find out first hand the affects of Super Crack are anything but painless as they all being to explode, one after the other, into a perfect storm of meaty, bloody, hooker chunks which litter the crusty motel room.

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In the aftermath of this carnage, Jeffry picks and pulls his favorite parts from those strewn about the room, takes them back to his garage and assembles Elizabeth’s brand new body, consisting of several different skin tones and body sizes. One properly placed bolt of lightning and Elizabeth is resurrected…only thing is, she has the spirit of the dead hookers and their mannerisms alive inside her reanimated body.  Like a reflex action, Elizabeth now blurts out “WANNA DATE? LOOKING FOR SOME ACTION? GOT CASH?” to every man she comes across. Immediately drawn tot he dark back alley’s of New York City, Frankenhooker goes on a carnal rampage of lust and death! That is, before she comes across grieving pimp, Zorro, who begins putting the pieces together which leads to one of the wildest, slimiest, whoreiest fucking finales to ever grace the silver screen.

I wouldn’t say Frankenhooker is Henenlotter’s best film, but I will say that it is by far and away his most unabashedly absurd and most fun. Frankenhooker is an A-1 slice of Trash Cinema Gold and an absolute pleasure to watch. It’s low brow, hysterically funny and unendingly creative in a extraordinarily dark and appealing way. Also, I cannot discuss this film without mentioning the show stealing performance of Penthouse Pet of the Year 1988, Ms. Patty Mullen. She turns in a remarkable, spastic, dare I say BRILLIANT performance as Elizabeth/Frankenhooker. Decked out in enormous platform shoes, a purple skirt, bra, and matching handbag, watching Frankenhooker awkwardly walk around the grimy back streets of New York, subways and seedy motels are the film’s highlights. Ms. Mullen is stunningly beautiful, genuinely talented and gives it everything she’s got in, what is now, her most iconic role. Patty Mullen, in this filthy grovelers heart, you will always be Frankenhooker. And, yes, I am looking for some action.

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Also, the totally fucking bonkers execution of the Super Crack Hooker Massacre sequence is a high watermark in down and dirty horror comedy filmmaking. These girls, when confronted with a huge bag of crack, go totally insane. Screaming, laughing, shaking, stripping naked and slipping each other the tongue, it’s all one fucking radical party…that is until they start exploding in huge fireballs, spewing sparks and hunks of meat all over the place. It doesn’t matter how many times I watch Frankenhooker, this scene has me in tears every time. It’s a goddamn riot and must be seen to be believed. Truly one of the finest moments in 1990’s cinema history.

Frankenhooker. It’s a simple tale told on a very low budget and caked in filth, just like I like ’em. It is grotesque, nasty, and completely unapologetic in it’s presentation of it’s absolutely demented material.  Still, at it;s very core, Frankenhooker is a love story about a man trying to bring his lost love back from the dead. Sure, the guy is kind of a brilliant moron, but his heart is in the right place just like the film itself. The film manages to generate a kind of sweetness that very few films pertaining to the subject matter of running over a woman with lawnmowers and then exploding prostitutes in order to stitch all their remains together and bring back your lover ever have. Frankenhooker is a down and dirty flick, obviously made for next to nothing, but delivers some massive entertainment.

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Frankenhooker, the sum of it’s parts make it well worth taking to bed with you. Just remember to, you know…wrap it up.

I award Frankenhooker 4 1/2 out of 5 Dumpster Nuggets.

Stay Trashy!

-Root

25
Oct
15

(NSFW) Maiden Detroit & The Primal Root: Devil Girl and Devil Guy October 2015

Hey Gang, The Primal Root here, and I am extremely proud to not only be the very first Devil Guy featured on The Trash Cinema Collective, but to be sharing this honor with the gorgeous and remarkable Devil Girl, Maiden Detroit and to have been photographed by the remarkably talented, gorgeous and uncanny love of my live, Ms. Bootsie Kidd. The stars aligned and we created a photo spread I am incredibly proud of. Something I’ve been dreaming of for years and, through the kindness and creativity of my friends in The Trash Cinema Collective, has been brought to glorious, bloody life. Before we take a look at our Devil Girl/Devil Boy Texas Chainsaw Massacre inspired spread, let’s get to know our subjects, shall we?

Maiden Detroit Interviewed by The Primal Root

Root: We’re so fucking happy to have you back in the Devil Girl fold, Maiden. What prompted your return? 

Maiden: When the opportunity to be apart of the first Devil Guy shoot presents itself you don’t say no. Done deal, Ass up, tits out!

Root: How was it working so intimately with The Primal Root and Bootsie Kidd? 

Maiden: Coming up to the set as the first shots were being taken, seeing the ease in which Bootsie and Root worked together; Chainsaw in the air, apron on and little to nothing else. I immediately felt at home. Bootsie’s ability to direct so gracefully with steady encouragement made being strung up incredibly comfortable. I am sure Root was just as nervous, as I, but you would not have known. There were some intense scenes: head knocking, hair pulling, body dragging and a lot of BLOOD. It was sticky mess, but I’d work with these two again in a heartbeat (so long as my heart continues to beat.)

Root: Got any cool plans for this Halloween? What are you dressing up as? What will you be drinking? What’s the Trashiest wish you’re filthy heart is hoping for this Halloween? 

Maiden: Turns out, I know these really two cool cats who are throwing a Haunted Hootenanny. So, after working I will most certainly be there. I will be dressed in my finest blood soaked garb, drinking PBR, whiskey, wine, blood and whatever else ends up in my hand. I know that it is going to be a blast. As for a trashy Halloween wish, I want all the adults get their treats from tricks. Trix are not just for kids.

Root: Can you give us some of your favorite Trashy Halloween movie selections you like to watch this time of year?

Maiden: Hmm…that’s a tough one. I’m kind of a horror junkie. I guess I might have a thing for the “tortured” baddies. I really like a nice Ciante. Hannibal Lecter is sexy as hell, so Silence of the Lambs. Hellraiser introduced me to Pinhead and I have never been able to get him out of my mind. There is something about that puzzlebox. Oh, and the bondage 😉 Freddy Kruger and his Nightmare on Elm Street has always been my favorite. After all, he was my first.

Root: If you could pick one song to be the soundtrack for our Trash Cinema Collective Gang to view this spread to, what would it be?  

Maiden: It would absolutely have to be “Let Me Love You To Death,” by Type O Negative.

“Now close those eyes and let me love you to death!”

The Primal Root Interviewed by Bootsie Kidd

Boots: So, Primal Root, you’ve had The Trash Cinema Collective blog up and the Notorious Devil Girls as a staple feature for going on six years now, What prompted you to brave being the very first Devil Boy? What Now? 

Root: Well, to be honest, I’ve always felt kind of lame seeking out Devil Girls and never taking the plunge and risking getting nekkid myself for a photo spread featured on my own blog. I never want to ask someone to do something I would never ever do myself. The horror market is so intensely saturated with nude women in horror scenarios but never guys. It’s always felt really one sided to me. For such a progressive genre, there seems to be very little in the way of equal play in these sorts of flicks. So, I figured, since i am a nudist with deep, abiding love for all things Trash Cinema, I might as well get nekkid and pay homage to one of my all time favorite horror films, the savage slice of cinema, Tobe Hooper’s The Texas Chainsaw Massacre. Plus, this is something I’ve been wanting to do for a long time and I am incredibly happy and proud with how this spread turned out. 

Bootsie: Okay, let’s take it back a turn, what are your earliest most vivd memories of horror films? 

Root: Oh man, that’s a good one. I remember being freaked out by the Large Marge moment in Pee Wee’s Big Adventure I always had a fascinating with monster, ghosts and the massacre ever since I was a very little kid. I lived for Ghostbusters and The REAL Ghostbuster animated series as well as Monster Squad, Indiana Jones and The Temple of Doom, Gremlins and the classic Universal Monster Movies I rented form the library like Dracula, The Wolf Man and Bride of Frankenstein. But, I think the moment which solidified horror as a passion for me was when I saw Who Framed Roger Rabbit? for the first time. When Judge Doom is in the ACME factory, turns his head and reveals himself to be a Toon with this red cartoon eyes, and at the same time confesses to being the murderer of Teddie Valiant with that high pitched, screaming voice, I nearly shit myself. I was terrified, but at the same time totally in awe and in love with how warped and mortifying this was. The creativity and the terror brought it all home and I knew horror was what I lived for. It will forever be my genre. 

Bootsie: I think we, and countless fans van agree, Leatherface is unique. What makes him special to you and why did you choose as the subject for this project? 

Root: I put on my Leatherface costume for the first time a couple Halloween’s ago and I have never felt more at home in a disguise. Leatherface just suits me somehow. It just seemed a natural choice for me, plus, his character and The Texas Chainsaw Massacre films themselves lent our set a story that pretty much told itself. I was lucky enough to have you as my photographer and the beautiful, brave, up for anything Maiden Detroit to collaborate and shre this spread with. There is a lot of horror here, but there’s also this odd, morbid romance where Leatherface becomes this beautiful woman he has just killed by doning her face. It gross, nasty, in slightly romantic in a very twisted way. I was lucky to have incredible talent to help me bring this spread to life.

Photography by Bootsie Kidd

Makeup and Gore Effects: Jonathan Bryant

14
Apr
15

Why Don’t You Play in Hell? (2013) Blood Sacrifice for The Movie God

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a Primal Root written review

It takes a certain breed to be a cinema buff.  I became a believer in the beauty, the appeal and the power of the movies in a near religious manner. Friday nights as a child were spent at the local movie theater (Oak Lakes 6, Miracle 5 or Capital Cinema here in Tallahssee FL, Rest in Peace, my friends) or at one of multiple video rental stores. I learned more about morality, courage, compassion, love and humanity from what I watched on the silver screen and through my VCR than I ever did by going to church and all I’ve ever wanted to do with my life is make that one perfect film I have in my head. My masterpiece. My chance to project a story upon that screen and make people laugh, scream, cry and think. In this sense I completely understand where someone like the character of Director Hirata (Hiroki Hasegawa) is coming from in the 2013 Japanese gangster, action, comedy, gore epic Why Don’t You Play in Hell?

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Teenage Director Hirata, along with his closest filmmaking comrades known as The Fuck Bombers,  discover a young Sasaki taking part in a back alley brawl. Hirata instantly dubs Sasaki “The New Bruce Lee,” and gives him Lee’s iconic yellow and black track suit and a pair of nunchaku. The group of dreamers spend their formative years at the local community center watching movies and the rest of their free time shooting backyard movies and incidents they come across on the street.

Meanwhile, young Michiko is the singing and dancing star of a toothpaste commercial and has become an overnight sensation. That is, until her Mother, the wife of Michiko’s Yakuai gang leader Father Taizo, is sent to jail after brutally slaughtering a half dozen enemies who invaded her home while she was slicing up carrots.  Michiko’s Mama is thrown in jail for ten years and the powers that be have Michiko’s ridiculously popular toothpaste ad removed from the air. I’m trying to refrain from spoilers as much as possible here, but Michiko comes home to the aftermath of her Mother’s bloody encounter, ends up lsipping sliding through some blood and comes face to face with the man who was sent to kill her family. It’s both incredibly cute, funny, graphic and sets the rest of the film’s story line in motion. A series of mind boggling coincidence, or is it fate (?), that leads to one of the greatest gangster epics ever filmed.

See, Taizo has sworn to Michiko’s Mother that Michiko is starring in an incredible action film, one that will make her proud of her daughter. But when Taizo realizes it’s all fake, that there is no heart behind the camera, no passion and no vision, he enlists the assistance of the now grown up, but still insanely passionate Hirata and The Fuck Bombers to film the epic battle to the death between these two rival gangs with the young and vicious Michiko as the film’s star. See, The Fuck Bombers never realized their dream of making the ultimate Yakuza action film. They made it as far as a mock trailer for the film they lways dreamed of making, but the dream has gone unfulfilled and the group is beginning to fall apart because of it. But this opportunity to film what promises to be the bloodiest gang battles in history. They have prayed to “The Film Gods” their entire lives, and it now seems that their prayers are answered. Director Hirata and his team tackle the project with a manic kind of glee as they rush about the battle with their eyes glued to their camera as blood, limbs, and heads fly the through the air and splash upon their smiling faces.

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I can honestly say it’s the most heartwarming and joyful bloodbaths I’ve ever witnessed in a movie. Everyone is willing to die for this project. Both gang bosses, their henchmen, Michiko, The Fuck Bombers, just to make this piece of cinema as true and spectacular as they feel it should be. And everything is amazing, that is until the fucking police show up (MPAA Ratings Board/Censorship?) and fuck it all up.

Why Don’t You Play in Hell is ludicrous, completely batshit crazy, brutally, cartoonishly violent and a jubilant celebration for the art of filmmaking. Filmmaker Sion Sono has captured perfectly the exhilaration and exasperation of going after any creative endeavor. There is love here for those who dare to dream and are waiting patiently for their moment to come. for their chance to speak through the cinematic medium. It’s impossible to not feel the excitement as hardened Yakuza gangsters become passionate and exacting about sound recording, as Hirata runs through thick puddles of blood, demanding reshoots as the people he’s making these requests to are actually being sliced to ribbons and as the cameramen redefine the art of “Shooting a Movie.”

There’s plenty of carnage candy in this blood encrusted cinematic odyssey, but there is an unmistakable depth of heart present throughout the proceedings. We genuinely care about life long friend, The Fuck Bombers, and their ambitions of making their movie dreams come true.  We find ourselves fully believing that Michiko’s toothpaste jingle could beguile generations of TV watchers including the rival gang’s leader who has been infatuated with her ever since.  It’s the fact that Why Don’t You Play in Hell and it’s wet, nasty, over the top action is grounded in believable, likeable, three dimensional characters that makes the ride of watching it so goddamn exhilirating. You’ll be cheering all the way to the final frame and even shocked to the point of tears by the fate of many of these characters. At least they all died battling for their art, their honor and their dreams. And this mixture of naive optimism and midnight movie bedlam leaves the viewer not only endeared to such shenanigans, but leaves you thirsty for more.

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For fans of not only Trash Cinema but the art of cinema itself,  Why Don’t You Play In Hell? is a flick you MUST SEE ON THE BIG SCREEN. It will knock you flat on your ass, hose you down with blood, then french kiss you with a mouth full of glass, and when it’s all over, you’ll wipe away the blood and beg to go through it again.  Trust me, it’s THAT fucking good.

I award Why Don’t You Play In Hell? FIVE out of FIVE Dumpster Nuggets.

Stay Trashy!

-Root

16
Oct
14

The Texas Chainsaw Massacre (1974) 40 Years with a Whole Family of Draculas

 

Patric Reynolds

Patric Reynolds

 

In Loving Memory of Marilyn Burns 

A Primal Root Written Review

Our experience begins in the void of darkness, we are blind to the world around us, yet we can hear the nearby sound of a shovel burrowing into the soil. The sounds of heavy breathing, exertion. Our senses are heightened alright as our minds race with the possibilities, as we are made to feel uncomfortable, trapped, anxious…And then our very first image. The visage of a thoroughly rotten, glistening, corpse that eerily resembles a batch of General Tso’s chicken, illuminated by a camera’s flashbulb, accentuated by the startling sound on the film;s soundtrack rumored to be anything from a cello to Tobe Hooper running a pitchfork down a piece of metal. Either way, in the span of mere seconds, the audience viewing The Texas Chainsaw Massacre is experiencing one thing above all else, fear.

The premise is simple. Throw a pack of kids in their late teens and early twenties into the heart of darkness, watch them die and then cheer on that one young woman who remains as she struggles for survival. We would call it cliched if it weren’t for the fact that The Texas Chainsaw Massacre was the very first. To call Texas Chainsaw Massacre a milestone in horror cinema is justified. Like absolutely nothing that came before it in the film’s attempt to truly obliterate the sanity of anyone who views it, Texas Chainsaw Massacre inspired a generation of horror filmmakers and decades worth of copy cats who could never dream of coming close to Texas Chainsaw Massacre’s raw, uncompromising, power. Though many sequels and cash-in’s follows in Chainsaw’s wake, there is no other horror film like it.

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Tobe Hooper, a young filmmaker out of Texas,  was inspired by, as legend has it,  tales of serial killer Ed Gein and his penitent for digging up corpses to steal their skin and wear it as well as the man’s hobby of turning the remnants of the dead into furniture and serving dishes. Another inspiration came in the form of a holiday shopping trip to Sears. As hooper stood in the hardware aisle int he midst of the holiday shopping madness, his eyes fell upon a rack of chainsaws when the thought came to him, “I know of a way to get out of this place in a hurry!” According to Hooper, within second, the premise for The Texas Chainsaw Massacre was born.

The Texas Chainsaw Massacre might be the most innovative and enduring piece of cinema to come out of the hippie movement, it has become a touchstone for the end of the movement an highlighting the sick, subversive nature or our American culture and society itself. In the wake of JFK, Bobby Kennedy and Martin Luther King Jr. assassinations, the failed war in Vietnam, the brutality of The Civil Rights movement and The Tate-Labianca murders, it was no wonder such a ferocious, merciless, hopeless piece of cinema was the product. Many other horror films of the era, like Romero’s Night of the Living Dead and Dawn of the Dead, Wes Craven’s Last House on the Left and Bob Clark’s Children Shouldn’t Play with Dead Things and Deathdream, all dealt with the frustrations, horror and disheartening of a generation of idealists, who struck out to change things, and watching as that struggle got buried, and never actually took hold. By the late 60’s and early 70’s we had become a nation haunted by that period in time when so many believed in a dream, only to watch it fall apart, like a person being chopped to pieces under a whirring chainsaw. None matched the unbridled fury, the primal scream of disgust and anger that The Texas Chainsaw Massacre delivered. All at once, the young people of a generation are painted as idiots, ego-centric assholes willing to mock one another and leave those less fortunate behind as they seek their own personal pleasures. And by films end, we are reminded, that it’s all just business as usual as an ancient old man in a suit and tie sucks the blood from the tip of the new generation’s finger tip. The message is clear, welcome to the American Nightmare, don’t expect to ever wake up.

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The Texas Chainsaw Massacre is a true work of absolute terror. A story pitch perfectly told, well acted, beautifully shot and fantastically edited. I could go on all day about Texas Chainsaw Massacre being one of the premiere achievements in outlaw independent filmmaking, but the results speak for themselves.  The Texas Chainsaw Massacre is now, 40 years later, considered a film classic and a masterpiece of the horror genre. All these decades later and it has not lost an ounce of it’s power to drive it’s audience to the brink of their sanity. To this day, as Leatherface dances with his chainsaw and the sun rises over rural America, just as the film cuts to black, dead silence, I still have to catch my breath every time.  40 years on, and we’re still feeling the the influence of that idyllic summer afternoon drive that became a nightmare. The most bizarre crime in the annals of American history. The Texas Chainsaw Massacre.

I’m giving The Texas Chainsaw Massacre LEGENDARY status aka: Infinite Dumpster Nuggets

Stay Trashy!

-Root

10
Aug
14

(NSFW) Sex and Fury (1973) Brutal Beauty or Vengeance is a Dish Best Served Nude

artwork by Andrew Peters

artwork by Andrew Peters

a Primal Root written review

I gotta say, there are few things in this realm of existence more exciting and beautiful than a badass nekkid woman brandishing a kitana and lopping various body parts off goons and heavies in the heat of battle. Watching the blood fly and the breasts bounce is truly a remarkable experience and a sight to behold.  I had always assumed these scene could only play out in my imagination, a daydream of a man obsessed with filth and the female form. To my astonishment, to my pure delight, the 1973 pinky violence epic, Sex and Fury, managed to commit this dream like boner inducing bloody massacre to a vivid, mind blowing reality.  Friends and Collective members, I may have just fallen in love with a movie.

Sex and Fury, directed by Noribumi Suzuki is the story of  one young woman’s quest for vengeance after witnessing, as a child the brutal, gore drenched murder of her detective father by the Yakuza gang. His final gift to her, the only witness of the assassination, are three hanafuda cards, the deer, the boar, and the butterfly, which will serve as clues to the identity of his killer. 20 years later, this little girl has grown up to be the stunningly gorgeous and deadly Reiko Ike, who gives herself the identity Inoshika Ocho, coded based upon her quarry (ino = boar, shika = deer, ocho = butterfly).  All the while, gang ringleader Kurokawa (Seizaburo Kawazu) and his flunky Iwakura (Hiroshi Nawa) consolidate the power of their Seishinkai Group, securing the carving of their turf in an ever changing and modern Japan.

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Ocho has become a well known and highly renowned gambler and thief and ends up having a beef with the Seishinkai after a dying Yakuza gambler begs Ocho to save his daughter from the rapey clutches of Iwakura, a mission she relishes tackling. Along the way she crosses paths with two other characters, the son of a murdered Seishinkai rival, Shunosuke (Masataka Maruse), who has some excellent emo hair and, like Ocho, a similar lust for vengeance. Ocho also runs across the scrumptious Christina (Christina Lindberg) a sexy and mysterious young woman from out west who has a legendary rep for being unbeatable at gambling and is also extensively talented with a firearm. Believe it or not, these characters and events all come together and lay the path for Ocho’s brutal quest for payback.

Reiko Ike (Battles Without Honor or Humanity) throws herself into the role with full bore ferocity that’s a pleasure to witness. She’s an lovely screen presence with striking features and a body that’s a knock out. for me, the movie doesn’t get much better than during Reiko’s extensive and lengthy nude sword fight with about a dozen Yakuza henchmen that starts in a bathtub and ends in a snow covered courtyard that soon turns shades of pink and red and the body parts fly and blood sprays by the bucket full. The fight is well staged and beautifully choreographed and shot and is truly a spectacle to behold. I can honestly say I’ve never seen another nude fight scene comes close to this sequence. Honestly, it is a thing of beauty.

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Also, I must mention Christine Lindberg (Thriller: A Cruel Picture aka:They Call Her One Eye), the cult star of some now notorious sex flicks and exploitation classics, has never really had much range, but does the best she can while trying to speak in stilted and awkward phonetically learned Japanese. Whatever\issues do arise from her presence in the film are more than made up for by her character’s ridiculously melodramatic story line, show stopping outfits and some very sexy scenes later in the film. Really, it’s just cool seeing Christine in just about anything.  My only gripe about Sex & Fury is that is often tries to depict sexual assault in a titillating manner, which has always been uncomfortable for me to watch but seems to be a staple of Japanese and Hong Kong films of the period. Thankfully, these scenes make up a very small portion of the film which is otherwise a none stop flowage of awesome sauce.

Bottom line, Sex and Fury is supreme Trash Cinema entertainment. There’s just about everything you cold possibly one from a genre picture of it’s ilk, sword play, gun play, graphic violence, martial arts, sexy women, copious amounts of nudity,  and many of these elements crossing paths at the exact same time lovingly and painstakingly realized.  Sex and Fury is truly remarkable piece of Trash.

I’m giving Sex and Fury FIVE out of FIVE Dumpster Nuggets

Stay Trashy!

-Root

29
Jun
14

Trash Cinema Nights presents The Burning (1981)

burning

Who: The Trash Cinema Collective
What: a screening of  1981’s “The Burning”
When: Saturday, July 5th at 10:00pm
Where: Bird’s Aphrodisiac Oyster Shack
Why: Because we love you.

as always…NO COVER!

MATURE CONTENT WARNING: Leave the fruits of your loins at home! Blood shed, full frontal female nudity, um…lots of female nudity and general slasher movie butchery goodness. With garden shears.

Hey Gang! As I am sure you’re well aware with the might of the current humidity situation and temperatures in the mid 90’s, it’s glorious summer time in Florida! What better way to celebrate this warm, moist, sweaty season than with a special Trash Cinema Night screening of one of the meanest, nastiest little summer camp slasher flicks of the 1980’s, 1981’s “The Burning?” Sure, it sounds like a PSA about genital herpes, but it’s one damn fine low budget horror show.

Gratuitous blood, breasts and one nasty disfigured psychopath who looks like his head is made up of a gnawed on wad of Big League Chew. I can think of no better way to continue celebrating our nation’s independence than by wallowing in the complete filth that is the 1980’s American slasher flick.

So come on out, sink your teeth into the best damn burger in Tallahassee, order up a pitcher of your favorite ice cold brew and let’s rot our brains together as we watch the likes of Jason Alexander, Fisher Stevens and Holly Hunter get terrorized by Cropsy, the summer camp legend who got roasted like so many marshmallows during a really badly planned prank and is now transforming teenagers into meat mulch.

We’ll see you Saturday, July 5th at 10pm over at Bird’s aphrodisiac Oyster shack for an evening of utter mayhem you won’t want to miss!

Stay Trashy!
-Root




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