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Don’t Go In The House

Posted by Josh Samford On August - 22 - 2008
Plot Outline: This is the story of Donny Kohler, your average young man who just happened to have been burned on the stove by his mother every time he was naughty when he was a kid. This trauma has inflicted Donny with some severe mental disorders, and after he comes home from work and finds his mom dead, he just flips his lid. At first he’s broken up emotionally, but then he realizes he can do whatever he wants from now on. He does just what you think too, what every young man dreams of doing once out of the reach of their overbearing mothers, he kidnaps young girls ties them up nude and burns them alive… Maybe that’s not a fantasy most have, but it’s what Donny does just the same. So now Donny takes to killing girls on what seems to be a nightly basis, will anyone ever stop him?


The Review: I know this site isn’t exactly one of the most frequently visited sites on the net as of the moment, but if there are any Newsradio (a sitcom, but one of the actual good ones) fans out there, I would like to make an idiotic point if I may. It was during the last season of the show’s run I believe, after the death of the funniest member of the cast Mr. Phil Hartman. After Hartman’s death Jon Lovitz came in to fill his shoes, and unlike some, I personally don’t blame him for the death of the show, it’s just he never really fit into the format. He was often too silly or cute, he’s a funny comedian it just wasn’t his scene. Every once in a while though, Lovitz’s character would actually let something funny loose. Case in point. When Johnny Johnson, the evil corporate tycoon who tries to steal away Jimmy James’ corporation comes around, Max starts following Johnson around like a lap dog. Well, this episode was one such occasion where the character of Max Lewis (Jon Lovitz) was actually funny, he also let out a nugget of wisdom that has stayed with me ever since. When the character of Dave Nelson (Dave Foley) tells Max (Lovitz) that Johnny Johnson is evil, and shouldn’t be associated with, Max tells Dave “Doesn’t that make you want to serve him all the more?”… so very true. Don’t go in the House contains bad acting, plot inconsistencies and is only a ploy to deliver exploitation and sleaze… doesn’t that just make you want to love it all the more? – Thought I was heading nowhere with all that Newsradio talk didn’t you?

I first heard about this flick from Pete who now runs the The Grindhouse Database , he mentioned it in some post I forget, but it surprised me because I had never heard of it. Don’t get me wrong, I’m not a all knowing guru of horror, I just consider myself to be quite informed on the subject. The real guru of horror is a guy name Mike Bracken, you can check his reviews on I believe. Anyway, I might have heard the title once or so, but I had never actually read about it or anything. So a few days ago I finally got around to checking it out, surprisingly I think I really liked it. I would never go so far as to call the film ‘good’ or well made, but it’s entertaining and unique. First of all, rather than really giving any good guy that stops our lead psycho, the film just kind of unwinds on it’s own. For about 80% of the film it’s just Donny dragging women into his house and killing them, reveling in his new independence from his mother. If that sort of thing bothers you and misogyny grates your nerves, it’s safe to say this flick isn’t for you. Along with I Spit on Your Grave, Last House on the Left and The House on the Edge of the Park, Don’t go in the House is a somewhat sleazy, dark and somber slasher flick. There’s no true home invasion like in the previous films mentioned, but the tone most certainly fits it in the same category. You’ll either be able to look past the bad aspects of the film and enjoy the perversity of it all, or you’ll just hate it. Either opinion seems justified to me.

Although the director didn’t/shouldn’t win any awards, every once in a while there are some interesting visual pieces. Like the dream on the beach, although a little cheesy in places, it was still pretty effective. The different cuts of burned bodies standing in mirrors and such also produced a jolt at some times, something I rarely ever get in my horror films anymore. The single most impressive thing about the film, and what will likely either offend or entrance most audience members, is the first victim of Donny’s rampage. After being tied up in his metallic room and chained to the roof, Donny douses her in gasoline and lights her ablaze with his flame-thrower. Although it’s a little bit fake looking on second glance, it’s still remarkably effective the first time around. I only have vague ideas about how it was achieved, my first instinct is to think they just layered a image of fire over her body, but I’m not sure if the technology for that sort of thing was around back then. Maybe manually laying the fire over the film it’s self. Beats me.

As I said, Don’t Go in the House isn’t going to win any awards, some things in the film just really make you scratch your head. Like, when Donny goes to sleep in the film and has his nightmare, the radio is playing the same song when he wakes up as when he went to sleep. Does the radio station only play this one song? There are plenty of other smaller things, but when I saw that I just howled. It’s the little things like that that draws me to this film. Much like Basket Case, Don’t go in the House isn’t good cinema, but it is entertaining. Some call the film disturbing and hard to handle, I just call it fun. Dig in if you don’t mind getting your hands dirty.

Don’t Answer the Phone

Posted by Josh Samford On August - 22 - 2008
Originally written by Prof. Aglaophotis

Plot Outline: Our movie opens with a murder scene in Los Angeles; as a young nurse is preparing to unwind from her shift in her home at night, a local serial strangler/sex assaulter attacks and strangles the nurse and has intercourse with her corpse. After immediately associating ourselves with the killer, we soon discover he keeps himself up to date with his deep-seated psychosis by tuning in and calling up Dr. Gale, a practicing psychiatrist who runs an hourly radio talk show for individuals with mild problems (sort of like Travesty Ltd.’s Rock and Roll Doctor, just not funny). In any case, she deals with various people in person and over the phone as the killer somehow gains some sort of attachment to her and he shows this by killing one of her patients as according to her discussed-in-person problems as well as performing his killing rounds. In the meantime, the police are on to our bulky killer with various help, but even with their mounting evidence, they run into consistent dead ends until the killer finally kills a caller for Dr. Gale to hear live over the air and she insists on aiding in stopping the killer.

The Review
One of the past selling techniques alluring me to various horror movies is when a horror movie communicates a warning to the audience with its sole title: Don’t. I feel as though just using that word for a horror movie works out wonderfully. But of course, just like everything else in this silly world, one can find something good and bad from the lot and this just happens to be one of the worse ones, but for a different reason than one might imagine. You see, a horror movie is NOTHING without something horrific to offer; even if its mere exploitation, it can still be harrowing and it will keep you involved in a somewhat serious way. That being said, Don’t Answer the Phone offers something terrifying, but delivers poorly in keeping us attached. It seizes the chances it has in the departments of sleaze and the seedy life of a strangulating death rapist, but everything else is just too reprehensible: the all-around bland acting intertwined with the occasionally coherent acting that is inundated with trite and boring comic relief is perhaps the biggest deterring part of this movie, but more over, it’s ultimate lack of potential and simultaneous slanted use of dated clichés. We have a title that concerns us about answering the phone, but after a manly voiced mother calls her daughter, the warning of the phone answering seems almost entirely irrelevant, despite calling the doctor on her radio show! Apparently, this movie was based off a screen play called Night Time, so it’s obvious that the switching title was a big mistake, but I’m rushing in too deep. Let’s find out what works first:

As mentioned earlier, the sleaze of the film was rather well done in the sense that our killer was also a photographer (forgot to mention that earlier, but that’s what a movie like this does to you) who would photograph his victims defiled corpses and would sell them for a good sum of money (because they were strangled, I guess no one would suspect, but it still gives you the creeps). We watch the killer enter this seedy Holly Wood underworld of pimps and drug pushing nonchalantly like a scene of social acceptance, most of the fellows not knowing/caring whether this guy was the local serial killer or not. Also, killer is fairly well acted. Now I know, I consistently give kudos to actors playing convincing killer roles, but I feel that the actors deserve it; it’s no easy task playing the antagonist, especially when the character requires the actor to perform odd deeds and forms of murder and make them convincing. I don’t know how long the guy who played as the rapist in Deliverance had to put up with people walking by him in airports singing the banjo & guitar song under their breath, but the guy deserves credit for his role as it challenges your social life regardless and may impede or advance your acting career. With my analogous digression in place, Nicholas Worth as Kirk the killer was exceptionally good, seeing that the exposition and credibility of his character was really all up to him in an inferable manner. There were no expository flash backs regarding his trauma and there wasn’t enough time or lines for him to completely express his character’s feelings lucidly, just three out of eight spots of exposition that adhere closely to his problems that in some small way, one can relate. I wasn’t expecting a character study out of this mind you, but just enough depth of the character so he is not just some faceless villain that kills SOLELY because it feels good and makes us want to watch him die faster…the character is still icky and hateful, but not enough to emit so strong a feeling of vindictive utilitarianism for his actions that doesn’t question understanding, which brings me straight into what doesn’t work in the movie…man oh man, where to start?

First off, if you’re going to have a perverted killer strangling young women, make sure not ALL of the victims are stupid and/or mentally challenged with little exceptions; give em’ a chance to struggle and evade the killer so the audience gets a feeling of fear or terror (at least The Toolbox Murders gave three out of the four victims a fighting chance)! Second, if you’re going to have a police force dedicated to catching the killer, make sure they’re competent! Before murdering a second victim, Kirk followed her five times, enough for her to see his face, recognize his car from the previous three drive-bys and act upon the stalking. On top of that, Kirk left his hand and finger prints all over the side door knob of the victims house, before he battered the front of it down. They may have found a Viet Kong coin in the stocking used for strangulation hinting he must’ve be a Vietnam war veteran, they may have found pubic hairs and semen samples, but they never dusted for finger prints or made any other conclusions from the samples rather than another link up to a similar murder?! Another brilliant emphasis of this type of police work was character Lt. McCabe being wry, being highly one dimensional (just like COUNTLESS low budget Science Fiction films) and pulling off Joe Don Baker tactics, intertwined with gunning down your only living witness and shooting an unarmed man dead simply because he’s too strong to be contained (and they don’t get points for ripping off tidbits from the climaxes to Eegah or House on the Edge of the Park neither [betcha’ that guy isn’t gonna fall in the pool])! If a case is really THAT perplexing, call in the FBI, not a clairvoyant or a phony professor! Third, if you’re going to hurtle forth cannon fodder, make sure they don’t always act so impetuously dumbfounded that once their own house is being bombarded by a human tank, they just crawl out of bed and crouch down in a bright inconspicuous corner of their room or never think of escaping through the side door of their own home instead of running for the obviously blocked door!! Fourth, in lieu of the incompetent police force, make sure your other helpers such as psychiatrists aren’t so unbelievably fake (this includes the lead doctor!) that we believe more of the incompetent officer’s straight-forward, black and white rhetoric rather than the professionals as they are either too derivative or dead pan stoic to be believable! Fifth, if the movie wanted atmosphere, they should’ve made sure that the music didn’t belong more appropriately in a Nintendo fighting game!! Sixth, I know some movies desire padding, but intertwining it with a huge assault worth of sexual comic relief made me forget I was watching a horror movie…that’s not good.

The Conclusion
Continuity shots were terrible, the content was surprisingly lacking, the depth of our characters were more shallow than the killer’s, it was hard to find someone believable or smart (with the exception of the psychic, but even he was too clichéd), leaving an innumerous amount of loose plot threads dangling like nooses hanging from a glass-less green house, lack of using a phone as a sign of danger for the victims…the list just goes on. I know bad movies are easily commendable at times because some of them are so bad they’re good or have bad acting that surprisingly makes the movie more believable in a realistic form, but the worst part about all of this was that it was more boring than it was entertaining, harrowing, frightening or easy to take seriously unless you’re easily offended by a woman killer/partial racist, which is highly understandable, but there’s more serious cinema out there than this; this is just dumb. There were at least two of these bad scenes I found hilarious, the first being the obvious digressional sexual comedy where a supposed drug bust is going on and we run into several outrageously dressed bondage fellows in a panic and the second is where the doctor is talking to a drug addict, but the scene starts with a close up of the addict’s blonde hair and the both of them in a room with flowery wall paper, then we see the doctor talking to the addict in another shot in front of white walls and the addict’s hair is brown. I was not looking for quality in this movie, for cinematic quality is almost as hard to define as whether someone is normal or not, but I was looking for effort. I feel sorry giving it a one because I saw potential in it with our traumatized killer, and I’m sure director Robert Hammer did too, but any form of redeeming factor was lost in the fat of lingering insipidness. This movie made me wish the lighting was just as worse as it was in The Demon, this way it would’ve been harder to see the ennui that is Don’t Answer the Phone. Memorable Stinger: “McCabe and Hatcher! Those bozos! If it were up to me, I’d fire em’!”


Posted by Josh Samford On August - 22 - 2008
Plot Outline: Dolemite is one bad mother, the only problem is he’s locked up on some phony charges set up by the crooked police, but that’s about to change. You see, the warden along with the mayor and a unidentified third party realize that their only chance to clean up the streets (because the peddling of drugs and guns seems to have worsened since Dolemite was sent up the river, don’t worry I don’t see how this could be considered logical either) is to let the big ‘D go free. Dolemite agrees after he hears that his cousin was shot dead for no good reason, and now he sets out for revenge… kinda. Two crooked cops stand in his way, as well as the insidious Willie Green who has taken over all of Dolemite’s territory and works with the crooked police. Thankfully while Dolemite was in the can, Queen Bee (Dolemite’s female helper who keeps his Ho’s in check) paid to have all of his hookers learn Karate in order to protect themselves more efficiently. With his Kung Fu hookers, Dolemite aims to take back his former Club and territory, but it seems many in town plan to stand in his way. Even the mayor!


The Review: I’ve been hearing about Dolemite since forever. I knew about it before I even knew about the blaxploitation genre it’s self really. I remember reading the review for it over at, listening to their audio clips and thinking to myself, man I have got to see this. A pimp who curses with every breath, sometimes rhymes and has a stable of karate fighting ninja Ho’s? Could it really be as great as I have it built up in my head? Well let me tell you, the film exceeded all of my expectations. I knew it was going to be bad and funny, but I had absolutely no idea. I remember a few years back Mad TV used to have a skit that made fun of the character of Dolemite, basically making fun of how completely inept the films are. Dolemite would fight off the ‘honkeys’ using the hokiest karate you have ever seen, with the actors deliberately doing their absolute worst. I remember one episode where I believe Dolemite had to go to The Moon (or something along those lines) to retrieve his ‘pimp cane’, of course when he did much bad karate ensued followed by Dolemite getting it on with some foxy ladies. The little skits were actually some of the best things that were happening on Mad TV at the time, of course only in my opinion. This was somewhere along the time “Stewie” and “Mrs. Swan”, two somewhat annoying characters with even more annoying catch phrases, took over the show. It seems to have been on a steady decline since it’s conception as a tv show, but I’m moving off topic. Watching Dolemite the other day, it’s pretty shocking how much the movie and those skits do have in common. The skits were taken to even higher degrees of stupidity of course, but Dolemite truly is the Plan 9 From Outer Space of blaxploitation. It’s unintentionally hilarious at every corner, the paper thin plot doesn’t make the slightest bit of sense at all and much like Plan 9, there appears to be some heart to the film. This, and that fact that it truly is one of the most entertaining films you’re going to see within the genre, is what makes you truly grow to appreciate and like the film. You have to imagine no one on set really knew what they were doing, had no budget and tried their best to make as entertaining a film as they knew how to do. They succeeded, but probably not in the way they had hoped. When I laugh at a movie for being ‘bad’, I like to think that I’m not doing it out of some need to hurt the creators of the film or to insult the film it’s self, it’s just that with all of the heaviness of any genre, there’s always the need for something a little lighter. Sometimes a film can be bad and suck the air out of the room for being horrendous and awful, and sometimes a film can be cheesy and inept by critical standards, but can truly bring a smile to your face. Maybe just because it’s fun to spot the mistakes within the film, sure, but there can be a special magic to a good b-movie, and I think Dolemite has just that. Between the hilarious and over the top dialogue, atrocious acting by pretty much everyone involved and all of the bizarre edits and plot inconsistencies, it gels into something wholly it’s own. Something bad, yet appealing. Something genuinely entertaining even if it’s not exactly something you’ll be showing to your family over Easter Holiday. It will take a special soul to really enjoy the inadequacies of Dolemite, but for the right person under the right circumstances, you’ll no doubt leave as entertained as I.

There isn’t a vast audience for the film out there, but the many reviews that take focus on it generally tend to focus on the same things, and with great regret I can’t help but do the same thing. You can’t talk about Dolemite without mentioning all these little idiosyncrasies that make it so memorable. It’s not a film that has too many layers or deserves a vast article focusing on the superb cinematography. The reason to love the film so adamantly is how very stupidly fun it is. You can’t talk about Dolemite and not mention his karate fighting stable of Ho’s. It’s a package deal, even if the Ho’s don’t get to do a great deal of fighting. Being that I rented this film on vhs (that would be the reason I took the images from the review, sorry Andrew but I needed some screen caps. Hopefully my linking the site twice in one review is substantial enough payment, because I’m a broke mutha), I was lucky enough to get the ever so classic Xenon video box, which I love completely. Dolemite, or perhaps just the Xenon vhs, is the only film where in the credits on the front cover there is someone listed as “Martial Arts Champion”! Is it really necessary to have a martial arts ‘champion’ on set? Wouldn’t it be more valuable to have a fight choreographer? I have no idea what the ‘champion’ title means, it’s as if someone on set had a tournament and whoever’s martial arts won received their name on the front of the film’s poster. It’s truly bizarre, and considering the complete lack of decency within the fighting it’s self, it just makes things even more hilarious. I’m not speaking out of turn either. The ‘karate’ within Dolemite is the stuff of legend. The very first fight sequence that establishes our character had me laughing so hard I was afraid I would wake the neighbors. It happens during a flashback to when Dolemite was arrested by the FBI (err, I think they were FBI. If not, they were all plain clothes detectives). Some cops come up, demanding to look in Dolemite’s trunk (considering this was a clear violation of his rights, it seems that if Dolemite had so much money he could clearly take this to a higher court through some fancy lawyers. Racist G-men or not). Not surprisingly, when they open it up a bunch of fur coats and cocaine are found and they want to take Dolemite to hit the mainline express to prison-town (don’t ask me where I came up with that one). Dolemite, being the bad mofo that he is, let’s loose his fury with the ever classic “you’re going to have to TAKE ME!!, what proceeds is one of the most astonishingly bad displays of martial arts that cinema has ever seen. The camera follows the punches from behind our fighters, the punches and kicks don’t connect very well and it’s all so very sloppy. It truly is quite the display. The greatest fight scene has to come when Dolemite is accosted by the two racist cops who lay a few punches on him. Dolemite jump kicks one in the back, this somehow knocks him unconscious. Since the kick hit him dead in his back I can only imagine he hit the ground face first, but that’s really putting too much thought into a Dolemite fight scene. The other cop isn’t so lucky when he receives some very badly aimed punches followed by a kick to the head that is easily TWO FEET away from ever touching his face, and yet our cop falls to the ground writhing in pain. These two scenes, gathered with a large and very sloppily edited bar brawl are only one of a million reasons you and everyone within your family deserves to see Dolemite and obviously should see Dolemite.

It’s 110% pure campy fun, sure it’s horrendously made, but as much as it is unintentionally humorous there are some very intentionally entertaining additions to the film. The dialogue is atrocious by university standards of course, but when you watch the film as a viewer and not a critic, a lot of this is truly classic. Who could ever forget when Dolemite is informing a police officer to please make room for him to get into his car, only Dolemite puts it a little more blunt when he says “Man move over and let me pass ‘fore they have to be pulling these hush puppies out your motherf***ing a**!” (censored because, well, as stupid as it is, my reviews are for everyone even if the films in question aren’t). Dolemite spits out things as equally as clever and obscene throughout the course of the film and this is why we like him so much, why kids everywhere (well, not everywhere) want to be Dolemite. He’s such a larger than life character, a true bad mofo if ever one did truly exist. It’s stupid to say about such a bad movie, but that’s the way it is with me. The characters other than Dolemite are just as widely drawn, Creeper – The Hamburger Pimp is probably one of the weirdest characters ever written. Perhaps Rudy Ray Moore had talked about this strange heroin junkie during his standup act, but for those of us who haven’t heard any of his albums, it’s just one more thing never explained throughout the course of the film. I personally wanted to know more about The Hamburger Pimp, did he sell the hamburgers to get smack? Why was it important for us to waste thirty seconds watching him doing a jive strut down the street after ‘pimping’ a hamburger from that fast food place? Things the audience may never know. We’ll also never exactly know why the local preacher was given guns, or really even what he wanted to do with them. Sure, he was a militant, but he didn’t exactly seem to have a fanatical following. Another big question is to what is even going on in the film. The plot literally makes no sense at all. The mayor wanted Dolemite out of jail, and that mysterious third party, was that the FBI agent? What was he doing making deals with the mayor? Why didn’t the mayor have Dolemite killed while in the prison? Why did the warden of a prison have so much authority when letting a prisoner go? How did Dolemite get out of prison on bail when he had just committed homicide and already had a criminal record even though if he was released he would likely be on a serious probation? You just can’t ask questions like this! There are no answers! The film’s script wasn’t meant to be questioned, it was only there to form a shell for Rudy Ray Moore to ham it up as the biggest and baddest pimp to ever come from the realm of blaxploitation. Dolemite could chew up The Mack any day of the week. Max Julien never displayed any Kung Fu of note anyway. Yet, while the plot is filled with more holes than Clyde Barrow’s Sedan (that’s a historical reference kiddies), it’s the amazingly bad production that gives Dolemite a lot of the cult appeal it has. The film has what is easily one of the worst pieces of editing I’m familiar with, right up there with the teleportation of a character directly into scene in The Girl With The Golden Boots (I swear I’ve brought that same error up in a previous review). During a lovemaking session between our main man Dolemite and one of his Ho’s, we are given a shot of Dolemite and his honey lying in bed wrapped in sheets. They begin caressing and preparing to do the horizontal jig, when all of a sudden, the film cuts to the same exact shot, but after the sex! The camera remains in place, only Dolemite and this girl have moved a little on the bed (neither in a position that looks remotely like they could actually be doing ‘it’) and are both now moaning. There was no cut to a clock, or a shot of the windows to show the gradual loss of time. Not even a closeup on clothing or the camera fading out. No, we’re treated to the exact same shot we started with in what is such a ridiculously clumsy edit that I almost lost faith in the idea of cinema as art. The film is full of a million other herky jerky edits that make the film look like it was put together by a blind man, but in the end it’s all a part of why the film has to be seen to be believed.

The acting, as mentioned, is almost pitiful to watch. A favorite bit of drama for me comes near the beginning where Queen Bee is so excited that Dolemite is being released from prison that she begins to tear up. The complete lack of any resemblance of emotion in the way she says “Dolemite, I’m so happy” should provoke uproarious laughter throughout any average human being, as a matter of fact if you don’t laugh, I have to think that you are insane. I still can’t get that out of my head and I doubt that I ever will. The direction in the film doesn’t even really seem worth mentioning, because I find it doubtful he was really instructive in the making of the film. I could be wrong and he was making the best of a bad situation, but I find it hard to believe he was very interested in what was going on while the cameras were rolling. His portrayal of Willie Green is actually one of the better performances throughout the film, but that doesn’t say much. Perhaps he just wasn’t that great of a teacher at this point in his life. Never the less, the lack of true guidance on the set seems to have been a blessing for the film, because I have to imagine if the story had been told in a mediocre (rather than horrendously bad) way, the film probably wouldn’t have taken on the cult following that it has. Tough guy gangster films were a dime a dozen at this point in cinema history. The film is a finely crafted piece of seventies cheese, whether you’ll like it is truly based upon your character. If you don’t dig it, that doesn’t make you a square, but it does mean this type of cinema might not be up your alley. If you do love this seemingly noxious piece of b-cinema, join the club because I can’t get it out of my head. Sure, it may seem offensive to the ‘art’ to give such a bad film a four rating, but if you don’t have fun while watching this film it’s hard for me to sympathize. A classic in the area of b-films, a king amongst slop. I love it adoringly, and as should anyone with a heart.

Slime City

Posted by Josh Samford On August - 15 - 2008
The Plot: Alex is a artist just now moving out of his friend’s apartment, due mainly because his girlfriend has put off “relations” until he has his own place – but unfortunately she’s still a little gunshy. However, that’s okay since the sultry mistress across the way in his new apartment is more than eager to jump his bones. After having some strange yogurt with another dark character in the apartment building, and a little bit of gross looking wine – Alex wakes up covered in slime and a new hunger… a hunger that can resist the slime… a hunger for blood!

The Review: When I first found the trailer for Slime City, not too long ago, I was enthralled. Along with the DVD cover art, it seemed at the time as if it would be another great New York based independent horror film in the same vein as something like Frank Henenlotter’s work. However, watching the film it becomes immediately apparent that it is drastically different from that sort of film. Slime City actually takes itself somewhat serious as a genre film, and doesn’t carry any of that wild atmosphere of something like Frankenhooker. Instead it’s actually a more direct horror film with more along the lines of Herschell Gordon Lewis than the previously mentioned Henenlotter or the fantastic Street Trash which I had also envisioned this film being similar to. Instead of being an outlandish punk rock horror with a taste for over the top acting and ridiculous plot points – it is a much more subtle and general horror story featuring many of the classic motifs of the genre. The sweet girlfriend who doesn’t want to put out, the smart-alek male lead and his friend just full of bravado and the ancient curses of yesteryear befalling our modern cast. What is actually enjoyable about the film however, is how strange it actually is. There’s a depth of imagination in films like this, and films of the eighties, that seems so lacking in a day like this. What the film may lack in terms of great performances or general plotting, is made up for in the strange ancient satanists corrupting modern day youths and exacting their revenge (in a manner of speaking). At the end of the day, I can’t say it all makes the absolute most sense in the world or that it’s the strongest horror flick from the era – but even with all the expectations I had for it; I still was not disappointed and I think that speaks for how entertaining the film really is.

I have to give it to Shock-O-Rama, they have released some films that desperately needed digging up with their line, including this film which I actually would have never heard of they had not picked it up for distribution. They’ve also apparently released the classic hefty-woman-goes-killing film “Criminally Insane”; which although being an absolute mess – I have a great fondness for. I sincerely hope they are able to keep up the good work and bring to light other American classics still left in the shadows. Slime City, which features a fairly odd title since the film never really encompasses anything happening throughout the city and simply what goes on in one apartment, turns out to be a drastically different film than I originally imagined it to be but something unique and fun in its own right. is a throwback to a different kind of horror that you don’t see a whole lot of these days. Inner city paranoia, apartment living and the claustrophobia that comes with it – at one time it seemed like these were hot topics in the horror world but I can think of few films like Shivers or Repulsion in many years. I mentioned H.G. Lewis above and I have to say, especially during the final thirty minutes or so I was heavily reminded of the Godfather’s style. The confined sets down to the over the top color schemes and dramatic horror musical cues… oh, and there’s also a fair amount of bloody gore that comes into play around that time too.Although some of the performances were obviously from non-actors or those with limited experience, thankfully none of the performances seem to be on that Lewis level, who would often have his performers going so far over the top that whatever it was they were doing could barely be considered “acting”. Robert Sabin as Alex is probably the best member in the cast, even though he takes some time to go a bit overboard, he is still charming and versatile as the lead and keeps the film cemented with a solid performance. Keeping with the discussion of performances, I was originally going to make some kind of sarcastic remark about the obviously fake wig worn by the character of Nicole, the sultry mistress across the street who seduces the character of Alex – but then I found out that both this character as well as the sweet and angelic girlfriend “Lori” were played by the same actress; Mary Hunter. I have to say, being that I never even recognized this during the course of the film – that wig may have been bad, but thanks to it as well as Mary Hunter’s performance, it certainly fooled me!

Slime city is a quintessential New York indie horror, and although different from the works of other fellow filmmakers of the time – it isn’t a surprise to see how many members of the cast worked with Henenlotter, worked on Street Trash and there are even ties to Jersey based Troma. Slime City is one of those films that seems to fit so well into a certain time and place and thankfully is now preserved in DVD format. Although not as “wild & crazy” as one might assume when viewing that great cover artwork, it’s still a pretty fun and often unintentionally humorous blast of low budget horror. I definitely recommend it for any horror fans out there looking to expand their horizons. I would recommend maybe a rental first, but for diehard gore fans just looking for a few dismemberment’s and some goofy fun – that may not even be necessary. I give it a four out of five, I personally think its great but opinions may vary. So I definitely say give it a look first, but overall, I think it’s a lot of fun even to this day. Check it out!

Django Kill… If You Live, Shoot!

Posted by Josh Samford On August - 15 - 2008
Plot Outline: Yeah, it has “Django” in the title but don’t be fooled, it has nothing to do with the film reviewed on this site. Just another case of people trying to make a buck off another film’s popularity. Anyway, Tomas Milian plays “The Stranger”, a Mexican bandit who works with a group of white men to pull a heist in which they get a whole lot of gold. Once the gold is in their hands though, the white men turn on the Mexicans and black men, making them dig a grave and shooting them all. They all die, except The Stranger. He awakens and claws his way out of his shallow grave. Two Indians rescue him and treat his wounds and soon follow his trail. While The Stranger makes his way across the desert though, the gang of white men stumble into a small town. Once there, one of them makes the mistake of flashing their gold around and before you know it, the gang finds themselves hanging from a noose. All but one man, the leader of the gang. Our ‘hero’, The Stranger just so happens to find his way into town at the moment he tries to escape the town too. Needless to say, goodbye Mr. Bigot. Now The Stranger’s mission of revenge is over, but he decides to stick around a while and takes up with Mr. Sorrow’s gang. Things begin to sink once Mr. Sorrow finds out someone in the town has the gold that the gang has.


The Review: Your loyal webmaster ‘il pantsman’ is having a bit of a spaghetti western revival this week. So here I am, this is the sixth film and I’m calling an end to the festivities. I’ve been watching all of these films for the first time this past week or so, writing down my thoughts after each viewing. So, starting from beginning to end, how was I supposed to know I would be saving the worst for last? I know that sounds terrible, as if the film is putrid or something, but I just expected a whole lot more. This was the only film of the whole marathon that made me exclaim ‘that sucked!’ after the closing credits. I mean that literally, I stood up and bluntly said it as loud as I could without yelling. The film just didn’t do anything for me. It starts off well enough with Milian rising from the grave to seek revenge, but then the film basically deconstructs after Milian has no one left to kill. I supposed the director had dreams of pretension but if you’re going to deviate from formula, for god’s sake make sure you have something to say and you can convey it! There were some interesting shots most certainly, and I respect it for going in a different direction, but the direction it headed in went to nowhere. I mean that. The film wanders and plods near the end for what seems like forever, needles subplots getting far too much exposure, all to get a cop-out resolution that ends in a matter of minutes. Sorry kids, no great duel or gun battle here. There’s essentially nothing.

Bah! The more I think about the film the more upset I get. I really don’t like to feel that way either. I’ve seen people who really like the film, and I hate disliking it so much because of that. It’s just that the film delivered so very little but had such great promise. It had Tomas Milian! Tomas Milian for pete’s sake! If there’s one thing that I have learned from watching all of these film’s, it’s that Milian was a force to be dealt with. Django Kill did nothing for his screen presence. Now, I will give the film credit for the fact that it let Milian stretch out some. This isn’t his usual ‘wild’ performance or ‘rascal with a heart’. He’s much more concentrated here and desperately tries his best to make the most of this dramatic role. He does a good job, as Milian was bound to do, but his charisma is all but laid to the wayside. As some astute critic put it, he really is a zombie in the film. There are moments where I was just screaming at Milian to punch someone in the mouth, or just, do SOMETHING. Instead, his character really is essentially dead. There are moments where he comes to life, like the moment where he gets in a fist fight in a bar. Even then though, it’s completely out of character. Just take a look at the ending and the climax of his love affair (that’s no spoiler, I didn’t say anything!). There’s no consistency at all really, the character shows compassion some times but avoids other situations. He’s either a mess or just not well written.

Then there’s the ending which I commented on earlier. It was like they knew they were running out of film and had to shoot something to close it all up. It just felt incredibly unfulfilling. I don’t even know exactly what it was that bothered me so much about it, as I seen another reviewer point out (and yeah, I always read other reviews to make sure my points at least seem vaild) they didn’t even let the audience know what happened to The Stranger’s Indian pal. Not surprising since they barely let you know what happens to The Stranger. There’s no emotional growth, no character growth, no nothing. I swear it just seems like a long road that leads to nowhere. Ahh, I’m ragging the film pretty hard I know, but I find it hard to comment on the things that were done well. As I mentioned, the imagery was great. There are some fantastic shots throughout the film, nothing on the level of Run, Man, Run! or anything, but still there’s some great technical work here. In the first half of the film especially, there are some great ideas at work. Watching Millian escape from his shallow grave is an amazing way to start the film off, and his retelling of how he and his compatriots were left to die is equally as mood setting. These moments of inspiration become fewer and fewer really, but up until somewhere after The Stranger gets his revenge, it’s all gold (pun intended). Since this is a spaghetti western you would expect some amazing work on the score, but to be honest, I barely noticed it. The score seemed far too subtle for this kind of film. Near the ending I was trying my best to notice it when it played so I could accurately judge it, but now about an hour after watching it I can’t even hum it in my own head.

So it basically stacks up like this: An A for effort, but a C- for execution. I loved the idea of a man setting off for revenge, but then finding that the revenge had been taken by someone else. It’s an interesting twist that just makes you wish all the more that the director would have actually done something useful with the idea. Instead, the film comes off as a meandering mess of blandness. Now, after all of that griping and complaining, I’m giving it a 2? You expected a one didn’t you? No, I think a two is fitting. It’s not an extremely terrible film really, it just tilts below the scale of generic. To those who really love the film, sorry if I offended you. This is all just my opinion after all so maybe I’m just a doofus. I’m sure you’ll take comfort in the fact that I most likely am.





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Varied Celluloid is a film website intent on delivering views on movies from all genres. Started in 2003, the website has been steadfast in its goal and features a database of over 500 lengthy reviews. If you would like to contact us about writing for the website or sending screeners, please visit the about page located here.