I’m continuing the Shudder film review residency here on my site with this post. However, as I watched so many horror films on the channel recently, I have decided to break them down into categories. This one is called Extreme!
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For your information, the films are reviewed in order of my rating, which as usual is out of eleven.
Featuring a B-movie rape and revenge plot, this exploitation story is raised way above its subject matter due to ultra-stylish direction, gorgeous cinematography and a compelling lead performance by Matilda Lutz. She portrays Jen, an aspiring actress, who is on a weekend getaway with handsome boyfriend (cheating husband), Richard (Kevin Janssens). He seems very well off as their break takes place at a stunning isolated villa location. However, things go awry when two of his hunting buddies turn up, and one, Stan (Vincent Colombe) attacks Jen while Richard is out. From then on events twist from incredibly bad to worse for Jen, and she finds herself being hunted down in the blazing heat of the desert. The film looks absolutely incredible with amazing photography and colour design. Overall, what it lacks in story and characterisation though, it more than makes up for in stunning action, searing violence and a powerful critique of toxic masculinity.
TERRIFIER (2016) – DIRECTED BY DAMIEN LEONE
I saw this horror film appear in a post on the YouTube channel What Culture Horror. So, the story of a demented clown who never speaks and slashes people to death on Halloween definitely piqued my interest. It’s both extremely violent and low-budget, having been made for around $100,000. However, it is in fact impressively shot and edited for such a small amount of money. The gory effects are amazingly effective too, summoning up memories of 1980’s prosthetic film effects. There is no real subtext or thematic strength, but I was pretty tense and sickened throughout. Moreover, the clown called Art is a memorably monstrous creation. He kills without reason and purely for his own entertainment. Nihilistic in tone, the director sure knows his horror and delights in presenting many sick ways of murdering his characters. Thus, if you like disembowelling, strangulation, burning, beheading and other gruesome movie deaths then, Terrifier (2016), is worth watching from behind the safety of the sofa.
CITY OF THE LIVING DEAD (1980) / THE HOUSE BY THE CEMETERY (1981) – DIRECTED BY LUCIO FULCI
Filmmaker, Lucio Fulci, is often found lurking in the shadow of Italian horror filmmakers such as Mario Bava and Dario Argento, however, he truly knows how to frighten and sicken the life out of an audience. So much so he has been given the nickname, ‘Godfather of Gore’. As well as directing many films, notably, Zombie Flesh Eaters (1979) and The New York Ripper (1982), he is infamous for his “Gates of Hell” trilogy which included: City of the Living Dead (1980), The House By the Cemetery (1981) and The Beyond (1981). I re-watched the first two recently and while not as terrifying as when I saw them in the past, they still have the power to shock. While lacking coherent plots, containing pretty bad acting and some chronically dreadful dubbing in places, paradoxically Fulci’s films can arguably be considered surreal horror classics. They may not make any narrative sense, but his ability to create stunningly violent set-pieces is legendary. Memorable scenes include: the spewing of intestines, crawling maggots, hanging priests, drilled brains, chopped heads and monsters rising from basements and graves. Such imagery and dreaded moments — all set to a creepy synth soundtrack — make Fulci’s movies unsettling viewing experiences.
ISLAND OF DEATH (1976) – DIRECTED BY NICO MASTORAKIS
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Mark: 1 out of 11
TETSUO – THE IRON MAN (1989) – DIRECTED BY SHINYA TSUKAMOTO
Lauded as a low-budget Japanese extreme body horror cult classic, Tetsuo: The Iron Man (1989), is either the work of a genius or a complete madman. Filmmaker, Shinya Tsukamoto, deserves so much praise for literally making most of the film in his own house and paying for it out of his own pocket. Yet, the thumping industrial soundtrack, jump-cutting-stop-motion style and story of metal invading the body, soul and mind of various characters was too f*cked-up, even for me. I know it gets mentioned as a work of genius, but it was frankly unwatchable. Thankfully, it’s only sixty-seven minutes of hell to get through.