Horrortales.666 Part 2 (2021)

BE CHILLED TO THE BONE AND DIE LAUGHING!

A BLOODY ASYLUM SPOILER FREE REVIEW

A new anthology sequel presented by The Sleaze Box featuring horror cult classic stars Debbie Rochon, Ari Lehman (the very first Jason Voorhees), Shawn C. Phillips, and Debbie D.

18 years ago a burglar broke into a author’s house and came across a computer with all the writer’s secret stories. One by one reading them he is slowly drawn into the terror of each one. Now the burglar, played once again by Joel D. Wynkooop, is back to his old tricks and breaks into a house, finding new stories to be told. This time he is taunted by a man who promises to take him to hell and back and make him pay for past evil deeds.

Producer Phil Herman returns, this time  alongside Dustin Hubbard, who are joined by many involved in the first movie. “We tried to capture what people loved from the original and think we achieved that. What makes this more special is that it was shot during the height of the pandemic. But through careful guidelines and creative filmmakers we pulled it off.”

To be perfectly honest I am not familiar with the 2003 original starring recently passed cult movie icon Julie Strain, who this sequel is lovingly dedicated to. As it began I did not know what to expect, yet the opening sets the scene perfectly for what follows. An entertaining film in the Troma vein and, as with many of those films, for the most part Horror.666 part 2 is completely tongue in cheek, and playing as much as a stand-alone as a follow-up.

First and foremost it is a whole lot of fun, particularly the wraparound story that connects the segments, with Wynkooop eliciting laugh out loud moments. All his scenes were filmed in his house by just him and his wife, with each segment also shot in similarly stripped back fashion to keep everyone involved as safe as possible.

As with most anthology films it is a hit and miss affair, with a fun meta segment that will be a blast for those familiar with the actors and film-makers; although does last a bit longer than necessary. At times picture and sound quality is variable, no doubt due to the enforced limitations of filming. Yet, along with the cast seemingly having had great fun, which translates to the screen, this is a big part of its charm.

At just shy of 2 hours, including the end credits, it is slightly overlong, but nonetheless enjoyable.

Horrortales.666 Part 2 is clearly made for fans of the original and those that relish a rough around the edges production. Without a doubt they will find themselves thoroughly entertained, and also be happy to know Part 3 is currently in the works.

Part 1 & 2 are now available on DVD:

https://www.thesleazebox.com/horrortales666part2

Censor (2021)

STUNNING VIDEO NASTIES ERA PSYCHOLOGICAL HORROR

A BLOODY ASYLUM SPOILER FREE REVIEW

One of my most anticipated movies of recent years. Produced by BFI, Film4, and Ffilm Cymru Wales.

Upon first hearing of Censor to say I was excited was a huge understatement. Film critic Mark Kermode summed up my feelings perfectly – this felt like a movie specifically made for me. And that turned out to be 100% the case.

Not only is Censor the first movie to depict the era of the video nasty, it is also a breathtakingly immersive, psychological horror, and character study of a fractured mind. Parallel to this offering up an insight into the censors’ job, some of whom must sincerely feel they are protecting the public.

Coming of age in the UK of the early 1980s I have vivid memories of the home video revolution and its evolution. A period that was to transform the face of movie watching forever, and a mind-blowing time for many a teenager like myself; shaping my love of cinema and particularly horror.  During those years UK censorship laws did not apply to video releases as they did to cinema releases, due to a legal loophole. This led to distributors releasing such titles as ‘Cannibal Holocaust,’ ‘Last House on the Left,’ ‘The Driller Killer,’ and ‘Nightmares (of a Damaged Brain),’ to name but a few, for mass consumption. Swiftly this was followed by national media outrage and hysteria, with sensationalistic newspaper headlines of “Ban the Video Sadists.” A change in law saw a clamp down on video nasties.

This backdrop in 1985 is where we meet film censor Enid. She takes pride in her meticulous work, guarding unsuspecting audiences from the harmful effects of watching the gore-filled decapitations and eye gougings she pores over. Her sense of duty to protect is amplified by guilt over her inability to recall details of a long-ago traumatic event. Then she is assigned a disturbing film to review from the archive that echoes her hazy childhood memories. She begins to unravel how this eerie work might be tied to her past – a quest that will blur the lines between fiction and reality in terrifying ways.

With this, her debut feature, Prano Bailey-Bond marks herself out as an emerging talent who understands what makes for an effective horror film. A rarity nowadays is an affecting, character-centric horror movie of such layered depth, and all in only just over 80 minutes. Equal credit for this goes to Niamh Alger as Enid, an astounding performance of ethereal range that draws us in from first to last. Never for a second is her character essence lost due to perfect actor/director synchronicity, leading to moments, and at times unpredictability, hitting like a sledgehammer; because we care about Enid. Although the central focus and on screen for the entire runtime, Alger is supported by a wonderful cast, the standout being Michael Smiley (Kill List), as an odious film producer.

Gradual tonal shifts adroitly reflect Enid’s psyche, leading to a finale that disturbed more than anything proceeding; horrifying and heart-breaking all at once. Is she traumatised, are they unreliable memories blurring reality, or not? Subtle visual/audio metamorphosing, a sublime use of sensory overload, perfectly mirrors this; enhanced further by dazzling utilisation of colour and aspect ratios. The look and feel of the era is vividly evoked and period detail within the production design is exquisitely realised. The Bloody Asylum’s Amy says Bailey-Bond captured the oppressive atmosphere of the video nasty frenzy so well through the lighting, and the contrast with the electric reds and blues.

Censor pulls off stunningly a difficult balancing act of combining horror and humanism. Without a doubt a virtuoso debut that surpassed all expectations.

Exciting futures beckon for Bailey-Bond and Alger. Hopefully more projects together for this perfect match of film-maker and actor.

Experiencing Censor brought back memories of watching stacks of movies in the early 80s with my parents until the early hours of weekend mornings. For that Prano Bailey-Bond Thank You, and in creating what is now one of my all-time favourite movies.

To part steal a quote from Stephen King, I have seen the future of horror and it is Prano Bailey-Bond.

Now on DVD, Digitally, & VOD from Magnet Releasing in the US

Now available VOD and in cinemas from Vertigo Releasing in the UK

Soon to be given in the UK the Limited Edition treatment by Second Sight Films

True Romance (1993)

A LAST DAY DEAF SPOILER FREE REVIEW OF ARROW VIDEO’S BLU RAY RELEASE OF TONY SCOTT’S FIRST MASTERPIECE

Film Review : True Romance (1993, Dir: Tony Scott)

Death Drop Gorgeous (2020)

BLOOD SOAKED JOHN WATERS, DARIO ARGENTO, SLASHER HOMAGE

A BLOODY ASYLUM SPOILER FREE REVIEW

A new release from Dark Star Pictures and October Coast

Wonderfully combining John Waters, Dario Argento, and the slasher genre, this homage makes for an entertaining, thoughtful slice of camp kitsch comedy horror.

A dejected bartender and an aging drag queen try to survive the eccentric and hostile nightlife of a corrupt city, as a masked maniac slaughters young gay men and drains them of blood.

From the off it is clear Death Drop Gorgeous is going to be first and foremost a lot of blood soaked, satirical fun with its opening scenes, and captivating character banter. In contrast to the humour it is a thoughtful, illuminating view of the LGBTQ community, social commentary, and poignant reflection on aging.

The cast is made up of non-actors for the most part, yet while the acting is uneven at times their chemistry holds everything together. Although taking time to hit stride, the set-piece kills and the second half is where it really comes into its own; bolstered by a far more dynamic, stylistic edge than in the first half. A slightly trimmed back runtime and a more grittier look at times would have been more in keeping with the John Waters vibe.

Impressively filmed over the course of two years at weekends with a crew consisting mostly of just five people: Michael Ahern (creator, lead scriptwriter, director), Chris Dalpe (creator, director), Brandon Perras-Sanchez (creator, DOP, editor), Wayne Gonsalves (associate producer, killer stunt double), and Ryan Miller (sound mixer, editor); who to keep the budget as low as possible were also the main bulk of the cast.

Filled with blood, gore, splatter, well rounded characters, touching moments, and laugh out loud humour, particularly makes this one for Waters fans and those looking for something slightly different from the horror genre.

Now in select theatres, VOD, & digital.