Sorry for the lack of new content. My laptop gave up the ghost. I’m hoping to find a cheapie in the near future until I can afford a fancy, new one. Feel free to check out the numerous past articles on here. Thanks for your support.
Sorry for the lack of new content. My laptop gave up the ghost. I’m hoping to find a cheapie in the near future until I can afford a fancy, new one. Feel free to check out the numerous past articles on here. Thanks for your support.
Its no secret that Quentin Tarantino is a fan of cult cinema. From his directorial debut with Reservoir Dogs to the macaroni combat homage of Inglourious Basterds, each of his films are riddled with references to many, many movies. With references to Westerns in his previous work, it would only be a matter of time before Tarantino made a full-blown Western. Amidst the bullets, blood, n-bombs, and laughs, there is a film that does for slavery what Basterds did for Nazis: an escapist revenge fantasy filled with lively characters and fantastic dialogue.
Dr. King Schultz (Christophe Waltz) is a dentist-turned-bounty hunter looking to take down a trio of targets. He rescues a slave named Django (Jamie Foxx) because he can identify the bounties. Upon taking down their targets, Schultz would set Django free. When asking what Django would do with his freedom, Django vows he’ll free his wife, Broomhilda (Kerry Washington). As a man of honor, Schultz agrees to help Django rescue his wife in return for the bounty.
The elements typical of a Tarantino film are often derived from the Spaghetti Westerns. The violence is quick and brief. The dialogue can be memorable. The soundtrack has some pop sensibilities mixing classical. The characters have some depth to them. What you’ve seen in the films of Leone and Corbucci will be given the twist of Tarantino to them.
Jamie Foxx is great as Django. There is a real anger and pain to this character. He’s focused in his mission to get his wife back. His chemistry with Waltz gives the movie its energy. Their exchanges run the range of comedy to drama to action banter. Waltz won himself a second Oscar for this performance and rightfully so.
There is a plethora of great character actors and personalities in supporting roles. Leonardo DiCaprio has the right amount of swagger and menace as Monsieur Candie. Samuel L, Jackson as Stephen makes for an interesting juxtaposition to Django. Kerry Washington brings a sense of innocense in the midst of the violence. Keep an eye out of the likes of Tom Wopat, Don Johnson, Tom Savini, Zoe Bell, James Remar, and Michael Parks. The original Django, Franco Nero, makes a great appearance.
The look of the film is sleek. The cinematography by Robert Richardson shows his experienced eye. With his work on films like Platoon, JFK, and Hugo, there is much that he added to this film. Fred Raskin’s editing helped maintain the pacing of this film. Tarantino has surrounded himself with talented film craftsmen.
The soundscape of this movie is a mix. There’s rap, classical, and some spaghetti western pop pieces. There’s James Brown, John Legend, Ennio Morricone, Riz Ortolani, and Jim Croce. But, the musical spotlight of this film is set on Luis Bacalov. His themes for the original Django as well as His Name is King are given the most prominent use.
As much as I enjoyed this movie, there were a few things I had an issue with. The violence borders on Peter Jackson Dead Alive absurdity, but it loses any kind of impact after such prolonged use. It could also have been cut down a half hour and ended instead of teasing the ending. Michael Parks is criminally under-utilized. With the success of this movie and Basterds, its sad that Tarantino may never try to make another movie with the maturity of Jackie Brown.
Overall, Django Unchained is a solid tribute to the Western genre. Great cast, an interesting soundtrack, and a look that is Class A will give this movie much longevity. Its easily available on many streaming websites or movie retailers.
I would liken exploring cult cinema to treasure hunting. You have to put yourself through much trial and tribulation, only to end up with a lot of dud films. Yet, when you find that one film, that film makes all the disappointment worth it. I’ve seen plenty of plain bad movies and I’ve seen my share of great bad movies. Michael Findlay as a director may have made his share of trash, but one film stands out as one of the aforementioned gems.
The plot resembles an episode of Scooby-Doo. A group of college students, led by their college professor, are looking to study and capture the Yeti. One by one, the students are killed off. It all leads to a climax that completely caught me off guard. The movie seems like its going in one direction, then pulls a hard left turn. This is probably the best plot twist I’ve seen since Cabin in the Woods.
From a technical standpoint, this is a bad movie. The lighting and coloring is bad with an overdose of purple. The acting for a movie of this caliber is exactly what you would expect. The monster costume and political incorrectness will induce much laughter. Yet, I applaud this movie for trying to be the best it can despite its budget limitations. The filmmakers didn’t set out to make a bad movie on purpose.
Michael Findlay didn’t make much in regards to quality film. His filmography reads like a Something Weird catalog. If you’ve seen the pseudonym of Francis Ellie, you’ve seen a Michael Findlay film. But, with Shriek of the Mutilated, he delivers a fun movie that does deliver a decent amount of gore and some modest scares.
For many of the cast, this was the only film they ever worked on. This was the case for the likes of Alan Brock and Tawm Ellis. Jennifer Stock would appear in the Herschell Gordon Lewis homage, Bloodsucking Freaks. Jack Neubeck previously appeared in Invasion of the Blood Farmers. Ivan Agar was in Any Body…Any Way. Again, these aren’t seasoned movie actors, yet they add a lot of charm to the movie.
Despite looking terrible, sounding awful, and bad acting, this is a movie worth seeking if you enjoy bad movies that tried to be good. This is a much welcomed alternative to the likes of Sharknado. You can easily find this movie on numerous streaming services. This is a movie just waiting to be discovered by an audience.
When Bioshock came out in 2007, players were treated ti a game that told a captivating story. The sequel was a modest follow-up, but didn’t have the awe of the first. 2K and Irrational Games take players to a city not under the water but within the clouds.
You play as Booker DeWitt, a man in debt. For him to get a clean slate, he must rescue a girl. In order for him to get to her, he must venture to the mysterious city in the sky, Columbia. Columbia is presented as the ideal American society, according to its leader, Comstock. American exceptionalism, xenophobia, racism, and fanatical Christianity dominate this culture much like how Objectivism and laissez faire capitalism dominated the city of Rapture.
All this hinges on the one called the Lamb. It turns out the Lamb is actually the girl you have to rescue. Not only is she prophetical to destroy the world below, but also Booker is deemed the false shepherd that will try to corrupt her. People will go out of their way to kill him. As you play further in the game, things are as they appear to be.
First and foremost, this game is a beauty to look at. The bright colors and majesty of the city in the clouds makes for arresting visuals. It serves as a nice contrast to Rapture’s mix of post-war Art Deco with Roaring 20’s glitz. Turn of the Century Americana is the motif of Columbia.
The sound design is fantastic as well. The guns sound authentic. The recordings you find have that scratchy quality associated with early recording technology. The few vintage tracks in the game’s soundtrack add much to the atmosphere. Jessy Carolina’s “After You’ve Gone”, Polk Miller’s “(Give Me That) Old Time Religion”, and Al Jolson’s “Me and My Shadow” deserve spots on your MP3 player of choice.
One element that may cause gamers to scratch their heads is the inclusion of tracks by artists like Tears for Fears, Creedence Clearwater Revival, and The Beach Boys. As the plot becomes more fleshed out, the songs in context of Columbia will make sense. The covers by Tony Babino must be heard to be believed. His versions of R.E.M.’s “Shiny Happy People” and “The Beach Boys’ “God Only Knows” stand as the best of the selections.
The voice acting, much like the first Bioshock, is top notch. They make the world of Columbia all the more alive. Troy Baker as Booker plays the desperate, but strong protagonist. Courtnee Draper gives Elizabeth a charming innocence akin to Disney’s Belle. Kiff VandenHeuvel portrays Comstock in a manner similar to the likes of Moses and John Brown.
The controls handle smoothly. Juggling your guns and using Vigors are just as easy as in Bioshock 2. Firing both your Vigors (this game’s version of Plasmids) and holding the trigger will automatically create a trap as opposed to having a separate vigor for them. Going back and forth between the ground and the skyhook is a smooth transition.
The skyhook adds some much appreciated action to the game. Its a lot of fun picking people off from the rail system. With a select piece of gear, you can land on the ground from the skyhook with a blast that blows enemies back.
Speaking of gear, this is one of the new additions to the series. You can have four different items equipped at once: a hat, vest, pants, and shoes. These items give you different abilities, ranging from gaining health from melee kills or switching weapons will make your previous weapon briefly sentient, killing enemies.
The weapons in the game are double that of previous games. There’s a Mauser, shotgun, machine gun, and carbine. There’s also Columbia weaponry like an RPG, repeater, volley gun, and hand cannon. The catch is that you can only carry two weapons at one time, which lends strategy and requires commitment from the player as far as the weapons you choose.
Plasmids are replaced with Vigors. These are enhanced abilities that serve as magic. You can throw fireballs, lightning, murders of crows, telekinetic blasts, and even possess other people or machinery.
Elizabeth is, without a doubt, one of the best video game assistants ever. In the heat of combat, she’ll toss you anything to help you out. Salts for your vigors, health kits, ammo, and money will be thrown your way by her when you need them. She can also provide aid through tears that help Booker access health, ammo, turrets, and motorized patriots.
Upgrades are plentiful for your health, shield, vigors, and guns. With the game taking place in a world before Adam, you use the game’s currency to buy upgrades for your guns and vigors. Expanding your health, shield, and vigor meter requires a pick-up that can be found throughout the game.
The enemies you’ll encounter are for more dangerous than any Spider Splicer or Big Daddy. You have typical henchmen in the Columbia police force. There are hulking monsters known as Handymen that can destroy you in seconds. Boys of Silence serve as the proverbial security cameras. You can either sneak by or kill them, but the latter action will alert spectral enemies to your presence.
Overall, this feels like the Bioshock sequel we were waiting for. It presented new themes and a new world to play in. There is an interesting plot that gets better and better as the game progresses. If Bioshock 2 left you disappointed or wanting more, then Bioshock Infinite is the game you should have your hands on already.
For those uninitiated, Giallo were Italian murder mysteries noted for their mixing violence with psychology. Argento innovated the sub-genre with his Giallo trilogy, which featured such classics as Bird with Crystal Plumage and Cat O’Nine Tails. This edition’s film is none other than Argento’s Deep Red.
David Hemmings plays Marcus, a musician, who witnesses the murder of a psychic (Macha Meril). Hours earlier, the psychic was at a public exhibition and sense a hostile presence in the audience. The police arrive later to question Marcus, who feels that something was amiss, a vital clue that he’s trying to recall that might solve the mystery.
Marcus is joined by a feisty reporter, Gianna (Daria Nicolodi), with whom they have a start a relationship. The pair talk with the psychic’s companions as well as other people of interest in their investigation. Yet, every time they find out who to talk to next, they are horribly, and beautifully, killed. One of the film’s best deaths involves a bath tub full of hot water, but nothing prepares you for the death that closes the film.
The pair of Hemmings and Nicolodi have real chemistry that recalls Spencer Tracy and Katharine Hepburn or Cary Grant and Grace Kelly. Hemmings brings a quirkiness that can be common among musicians. Nicolodi has a sass that makes her a great character for Hemmings to play off of.
This film has one of the best music scores performed by Italian prog rockers, Goblin. The fusion of silent era pipe organ with jazz and Moog synthesizers made for one of the most unique sounds for the mid 1970’s. The track for the killer, “Death Dies,” will stick with you after seeing this film, with its rapid pace and brief guitar wails. “Mad Puppet” and “Deep Shadows” are two other great tracks on the soundtrack. The main theme for the film would influence John Carpenter’s theme for Halloween. Goblin would continue to work with Argento through other projects including Suspiria and the Italian edit for Dawn of the Dead.
The script was co-written by Argento and Bernardino Zapponi. Zapponi was keen on using means of death that people would find palpable. He felt people would be able to relate to sensations like being burned by hot water and being hurt by the sharp edge of a table, as opposed to having a gun aimed at them. In addition, there is a puppet in this film that is far creepier than the one in Saw.
Argento reached a peak with this film. Since Deep Red, he has rarely made a new Giallo film, the most notable is Tenebre. You have a great script, amazing music, and two great leads that work great together. Plus, you have some of the best-looking movie deaths in any horror movie. Deep Red is well-worth your time and one of the best releases by Anchor Bay/Blue Underground.
For the past two games, Red Octane and Harmonix continued their harmonious partnership with the Guitar Hero series. Sadly, it was coming to an end. Activision purchased Red Octane while Electronic Arts bought Harmonix. Both companies were going their own way, but not before one last game.
Guitar Hero Encore: Rock the 80’s is essentially a re-skinned version of Guitar Hero II. All the venues are the same. All the characters are the same. Harmonix changed the color scheme to 80’s pastels. Competitive and co-op multiplayer was back as well. Sadly, this is the expansion pack some people claimed Guitar Hero II was.
The song list was changed to fit the 80’s motif. It spreads through multiple genres. Punk acts like X and Dead Kennedys are featured alongside the likes of Asia, The Police, Iron Maiden, Twisted Sister, The Go-Go’s, and A Flock of Seagulls. To the game’s benefit, a lot of these songs are fun to play.
Sorry this review is so short, but that’s all there is to cover about Guitar Hero Encore: Rock the 80’s. Nothing much was changed for this game. You have to figure that at the same time they were rushing this title out, Harmonix was working on Rock Band. The game is only worth owning if you like the set list and you want some more songs to play to. Other than that, this game is skippable.
Well, here is the review for Guitar Hero III, which came out months later…
With Harmonix working on Rock Band, a different developer was brought in to handle the Guitar Hero series. Neversoft, famous for the Tony Hawk series, took on the project. How did it fair?
The game retains the simple premise of playing through songs by matching the fret buttons with on-screen notes and strumming in time. Much like the previous games, the songs start out simple but gradually become more difficult. For this game, it becomes problematic. The note layouts don’t feel authentic. It feels like Neversoft wants players to tackle outrageous waves of hammer-ons and pull-offs. The difficulty reaches a point where its not a welcomed challenge, but frustratingly annoying.
The game introduces guitar duels. Here, you are challenged by noted guitarists and must defeat them in a play-off. This is all well and good, but the introduction of power-ups make these duels less about skills and more about bombing opponents with crippling debuffs. The battles with Tom Morello and Slash are moderate in their challenge. Its the battle with Lou at the end borders on turn-off anger. This ridiculous battle kills the fun factor.
The set list for this game may be one of the best in the entire series. Cream, Rage Against the Machine, Foghat, Metallica, The Who, The Killers, and The Sex Pistols are among the featured artists. Songs that are fun to play include “Cliffs of Dover”, “Paint It Black”, and “Holiday in Cambodia.” The co-op mode has some exclusive songs. “Sabotage” by the Beastie Boys and “Cities on Flame with Rock and Roll” by Blue Oyster Cult are some of those tracks. It would have been nice to have access to all the songs in single player.
The venue design is amusing. The backyard party and the music video studio are the more visually engaging. Yet, I do have a problem with product placement. It strikes me as out of place to see a Pontiac logo.
The character design is no longer the cartoonish style of the previous games. Instead, the characters are given a realistic appearance. For some characters, notably Johnny Napalm, they came off as something out of the music video for Genesis’ “Land of Confusion.” The absence of favorites like Pandora and Clive Winston don’t help.
Guitar Hero III is a mixed bag. It has a fantastic collection of songs and it can still be fun to play, for the most part. Yet, the casual nature of the series up to III is replaced with the notion of challenging for the sake of being challenging. The guitar duels and altered art design aren’t going to win a lot of people over to Neversoft’s approach. The Guitar Hero we knew had changed. In the short term, people seemed to go along with it. In the long term, well…
This article’s film established Buffalo, NY as a horror haven. Since this film, numerous horror films have been made from outsiders as well as homegrown filmmakers with titles such as Poultrygeist: Night of the Chicken Dead, The Perfect House, Slime City Massacre, and Snow Shark. This film also stands as one of Miramax’s first films, building momentum for the Weinstein brothers.
One night at at a summer camp, a group of youths plan on pulling a prank on the camp’s caretaker., Cropsy. They hope to scare him with a rotting skull candle. Cropsy wakes up, startled by the sight. He kicks over the candle and it lands on gas can, setting the cabin and himself on fire. Stunned, the campers just watch as Cropsy stumbles into the river to douse out the flames.
Five years later, Cropsy is released from the hospital. He hides his scars under a jacket, hat, and sunglasses. He solicits a prostitute and kills her out of rage with a pair of scissors. Afterwards, he sets out to Camp Stonewater to murder the campers and counselors.
Its here the film transitions from being a horror movie to a camp-themed teen comedy. The kids engage in humorous shenanigans. It was almost as if two separate films were edited together. This portion of the story doesn’t focus on any one or two characters. There is no designated hero/heroine, which came to me as a welcomed surprise. Its a good half hour before Cropsy actually spills blood on the camp grounds, and when he does they are well worth the wait.
After a number of kills by Cropsy, Todd (Brian Matthews) and Alfred (Brian Backer) are the ones who end up fighting the killer. Interestingly enough, they end up falling into the role of the heroes as opposed to making a determined stand. They fight out of survival instinct, not out of alpha male tendencies.
Viewers will likely get a kick out of the casting in this film. The Burning marks the film debuts of Seinfeld‘s Jason Alexander, Fisher Stevens (Short Circuit), and Oscar winner Holly Hunter. Brian Matthews would go on to star in a number of soap operas. Fans of Sam Raimi’s first Spider-Man film will recognize Larry Joshua from his role as the shyster wrestling promoter. Overall, the cast is believable, if not really delved into as far as development goes.
The real star of the film is the effects work of Tom Savini. It was these effects that got the film banned in Britain during the Video Nasties controversy of the 1980’s as well as being censored in America. The respective countries would eventually release the film uncut in 2001 and 2007. Those who see the film will likely never forget the raft slaughter scene that would becomes a signature scene in Savini’s long list of effects credits.
The synth-heavy score by Yes keyboardist Rick Wakeman is good, but not memorable. Don’t get me wrong. Wakeman has more musical chops than similar-styled composers like John Carpenter and Claudio Simonetti. But unlike Carpenter or Simonetti, there isn’t a theme or riff that sticks out. Halloween and Profondo Rosso have a key theme that stays with you.
Fans might be disappointed by the few and far between kills in this film. Yet, I have to give credit to the Tom Maylam-directed team. The characters are given a lot of personality, much more than the machete fodder in other slasher films. But, this is a film that rewards the gorehound if they keep watching long enough. While this film is in the shadow of Friday the 13th, it has its moments of ingenuity that help this film stand on it own.
Alan Moore stands as one of the great literary minds of the comic book medium. His works stood to elevate the art form as being more than simple kids stuff. For example, Time magazine’s list of the top novels of the 20th Century featured Watchmen and was the only graphic novel to appear on that prestigious list. Moore’s work on characters like Swamp Thing and the Joker was able to give those personalities more depth. Yet, there is one work I frequently re-visit and it was the graphic novel that introduced me to Mr. Moore: The League of Extraordinary Gentlemen.
It is the final years of the 19th Century. Representing a benefactor by the name of M, Campion Bond sends Mina Murray on an assignment to seek mysterious individuals. Joining her is the enigmatic science pirate, Captain Nemo. Her travels lead to encounters with the likes of famed hunter Allan Quatermain, the unstable Dr. Henry Jekyll, and the invisible Hawley Griffin.
With the team assembled, Bond gives them their mission. An anti-gravity material known as Cavorite was stolen. The chief suspect, a man known as the Devil Doctor, is believed to be hiding in the Limehouse district. The team must infiltrate Limehouse, find the Cavorite, and stop the fiendish plans of the Devil Doctor. But, things are not all as they appear to be.
The League of Extraordinary Gentlemen is a concept that would intrigue many readers: What if some of literature’s most prominent characters were assembled into a superhero team? Seeing these literary characters interact is a joy for me as a bookworm. I’d never thought I’d see the Invisible Man team up with Captain Nemo and Mr. Hyde, but it works. Think of it as Justice League Dark in the Victorian Era.
Both Moore and artist Kevin O’Neill go to great lengths to make this steampunk alternate history feel alive. Appearances by the likes of Inspector Dupin, Fu Man Chu, Mycroft Holmes, and Ishmael expand the graphic novel’s wide reach. O’Neill heavily contributes with his stylish art, throwing a number of references himself, be it the locomotive from Wild Wild West or Dorian Gray’s picture in the background. To catch all the references, I highly recommend buying Jess Nevins’ Heroes & Monsters, which annotate every reference in the first volume of the League of Extraordinary Gentlemen.
I got into the graphic novel around the same time as the disastrous movie. After reading the trade paperback of the first volume, I dove into the works of Oscar Wilde, H.G. Wells, and Edgar Allan Poe. Before that, you could barely get me to read anything. After finishing the first volume of League, I read anything I could get my hands on.
League of Extraordinary Gentlemen is another fantastic literary work by Alan Moore. The same attention and depth more has brought to his other works is very much present here. Whether you grew up on comics or the classic works of Verne, Stoker, and Haggard, you’ll get a lot of mileage out of this particular series.
Re-releases of vintage video games offer a unique experience. Contemporary gamers are given an opportunity to try out games only available on older generation formats, enjoyed by their elders. Thanks to current console technology, vintage video games can be downloaded and take up very little space. Despite these advances, some games are better off being stuck in the past instead of being brought back from the dead.
You play as a young physicist who is transported to another world after a lab equipment mishap. You find yourself at the mercy of this planet and its inhabitants. You’re taken prisoner and promptly escape, along with your reluctant partner, named “Buddy.” You have to battle through aliens and monsters in order to get off the planet.
I’m sure this was cutting edge at the time of release. Now, it seems like it was animated on MS Paint. Despite the dated graphics, I could have enjoyed it if other elements weren’t insufferable. There is also a stiff learning curve that rivals the likes of Dark Souls and Stuntman, which makes the game a chore to play. This game started on old consoles and PC. It should have stayed on this formats because this game translates poorly to new hardware.
The biggest issue with the game are the horribly sluggish controls. You slip and slide in all your movements when running. You have a laser gun, but to actually try to fire it leads to one of two conclusions: the laser either doesn’t fire or you fire and the enemy runs off screen before the laser blast hits them. This is the one aspect of a game that is pivotal to enjoying it. If a game has poor controls and is near unplayable, it is not worth the time of day. This game has probably the worst controls of any game I played this year.
As for sound design, there is hardly any sound. The music is modest. You have the option to listen to the original soundtrack or an updated music score. Whether its good or not, I can’t say. I didn’t really give the score much attention because I was mortified by the terrible controls.
If you were curious to play this game, don’t bother. Despite the music and graphics, the controls are a deal-breaker. If I can’t play this game without cheap deaths from bad controls, then a game is not worth my time and energy. This is a game that doesn’t hold up with so many other vintage games being re-released. If you really want to play this game, resist the urge. There are better vintage games being brought to contemporary consoles.
Thanks to Quentin Tarantino and Robert Rodriguez, the Grindhouse culture of cinema was brought into the 21st century. In the wake, came sleeze-inspired films like Machete and Hobo with a Shotgun. One can hope that Edgar Wright gets around to making a full-length feature for his Don’t trailer. This installment’s film takes a look at the surprisingly long existence of Grindhouse exploitation cinema, dating back to the silent era.
While Grindhouse cinema was at its height in the 1970’s, it starts back to the silent era of filmmaking, when the likes of Lon Chaney Jr. and Conrad Veidt were dominating the screen. One of the earliest examples of exploitation, as mentioned in the documentary is Traffic in Souls. This film dealt with forced prostitution, dramatizing and bringing grimy elements into the film.
The film goes through the decades as the genre grew with the likes of Tod Browning, William Castle, Alfred Hitchcock, Herschell Gordon Lewis, Dennis Hopper, Wes Craven among others. Actors David Hess and Fred Williamson are notably present. Robert Foster serves as the film’s narrator. Originally shot for the final edit, interviews with Ray Dennis Steckler (director of The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies?!!) and Joseph Ellison (director of Don’t Go in the House) can be found on the DVD special features.
The documentary comes to a close with the resurgence of the sub-culture. In addition to the aforementioned films, other recent Grindhouse-inspired films include the spoof Black Dynamite, The Passion of the Christ, American Gangster, and Hell Ride. It appears the genre is back and far from dead.
The depths of detail the films goes is remarkable. Seeing how far back the roots of exploitation can be traced shows that while the heyday was in the 1970’s, its inception predated that historical segment. The enthusiasm of directors like John Landis and Joe Dante during their interviews show they have a love for this section of cinema. Robert Foster does justice as the narrator. His smooth, yet raspy voice compliments the on-screen sleaze.
If there’s one complaint, its that it focuses more on American films. It was around 1980’s when Italian horror films from Lucio Fulci, Ruggero Deodato, and Umberto Lenzi were directing their gory brand of horror. Even before that in the 1970’s, there were the Spanish horror films like Living Dead at Manchester Morgue and Tombs of the Blind Dead. In recent years, Japan has been delving into exploitation with films like Audition, Battle Royale, Junk, Versus, and Tokyo Gore Police. While these films aren’t American, they had an impact or added to the Grindhouse culture.
For fans wanting to see what the big deal was with Grindhouse culture, this film serves as a great hello. Its comprehensive, yet it leaves the viewer wanting to know more and see more. After seeing this documentary, I had a list of films I really wanted to see. This is a great view and will fly by at only 80 minutes.
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