Review: Mad Heidi

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Mad Heidi
Directed by Johannes Hartmann; Sandro Klopfstein
Swissploitation Films; A Film Company; SRF (Swiss Radio and Television); Raven Banner Entertainment
92 minutes, 2022 / 2023
www.madheidie.com
www.facebook.com/madheidimovie
www.instagram.com/madheidimovie/

Before there was Pippi Longstocking (1945), before Laura Ingalls (Little House on the Prairie, 1932), and previous to Anne Shirley (Anne of Green Gables, 1908), there was Heidi, first published in 1880 by Johanna Spyri. In this story, Heidi has gone from an innocent and yodeling 5-year-old mountain girl into a strong, angry 24-year-old woman. She is a badass.

From the moment I saw the trailer for Mad Heidi, I knew I wanted – perhaps needed – to see this. Filmed in Switzerland, this is apparently a new subgenre being referred to (by its producers) as Swissploitation. Gotta love it. Mostly in English, there is minimal Swiss German, as well.

Alice Lucy

So, this grindhouse release cannot – and should not – be taken seriously, as it is an extremely broad and violent comedy. Just what the doctor ordered. Films of this nature tend to be called “cheesy,” and in this case, it is quite purposeful, as I will explain later. The film goes out of its way to give it a 1980s release feel (a good start!), right down to the opening credits, and relying on a bunch of different genres throughout, some of which will be noted below in brackets.

Through the prologue and credits, we learn that Switzerland is taken over by Nazi-esque (right down to the Swiss Cross red armband) regime of President Meili (Casper Van Dien, of 1997’s Starship Troopers, sporting a comically-German accent) – aka, “Our Very Swiss Leader” – a cut-throat dystopian dictator who is not afraid to quash a protest through armaments. He also owns the only permissible cheese factory in the country, with the slogan, “Strength through Meili’s Cheese.” Any other brand is illegal, and burned, while the sellers are executed in the street. He is brutally aided by Kommandant Knorr (Max Rüdlinger) – sometimes the “K” is not silent – who says, as he is torturing someone in a dairy-related way, “I love the smell of cheese in the morning!”

Casper Van Dien

There is an interesting mix of Nazi-ism, and what is going on in the States right now. For example, there is a negative “other” branded on the lactose-intolerant who cannot eat cheese, reflecting what is going on with the LGBTQ+ and Trans communities. Republicanism is reflected a lot here, not to mention Meili’s tendency to wear all red clothing. His plan is to take over the world…cheese market.

Meanwhile, there is a grown-up Heidi (relative newcomer Alice Lucy), living in the Alps with her grandfather, Alpöhi (David Schofield). While Heidi seems to be unaware of what is going on in the village, gramps is more conscious. Part of Heidi’s distraction is her love interest [sexploitation], the godfather of illegal cheese, Goat Peter (Kal Matsena). He is pimpin’ his goat cheese in bricks in his white fur coat [blaxploitation] to underworldly figures. See, purposefully silly and smile worthy.

David Shofield

After some tragedies, our feisty heroine is arrested, and sent to a stern prison with Klara (Almar G. Sato), run by an even sterner warden, Fräulein Rottweiler (Katja Kolm) [women in prison] and her sadistic right hand who really enjoys giving a cattle prod, Lutz (Rebecca Dyson-Smith). In the Mengele-ish role is Dr. Schwitzgebel (Pascal Ulli), the Chief Cheese Scientist, out to rid the world of the lactose intolerant (reminiscent of Scott Atlas, Trump’s anti-vax COVID advisor). Naturally, the only food there is cheese (reminds me of a line said by Maude on “All in the Family”: “It’s Cream of Wheat and cheese; it’s light but it binds”). His goal is to form a “perfect” cheese to create a cheese army (think of zombies or Orcs).

Of course, after Heidi escapes and does some kung fu training, she becomes a warrior that is bound to influence a whole bunch of Halloween cosplay outfits. And rightfully so. I will not go into any detail about the fight to save Switzerland, but man, it is bloody and fun. And I mean some really nice albeit cartoonish gore that will have any gorehound cheering.

Max Rudinger

While there is a timeless feel to the film, such as “the new,” Goat Peter referring to Heidi as “Babygirl,” and “the old,” dial phones, it is definitely steeped in the ‘80s, with cassette boom boxes, mad scientist laboratories, explosions, bizarre opening animation and CGI, and everything being excessive.

The scenery is nothing short of stunning. Mountains, switchback roads with enormous drops, green valleys, bridges, and the like. So beautiful.

Kal Matsena

Goofy, but smart and obviously made by a group that are hardcore cinephiles, with influences and reflections of the likes of Scanners (1981), Cool Hand Luke (1967), High Anxiety (1977), the subgenre of The Big Bird Cage (1972), The Human Tornado (1976), Sergio Leone’s spaghetti westerns (including some of the score sounding like Ennio Morricone), Star Wars (1977), Crocodile Dundee (1986), Spartacus (1960), and, of course, The Sound of Music (1965). I am sure there are some I missed.

The acting is also reflective of the period it is honoring, with over-the-top dialogue infusing the over-emoting and facial expressions (Van Dien, especially and purposefully). Plus, there is one speech that sounds like it could have been pointed directly to the information deprived MAGA followers.

Katja Kolm

One of the notable aspects of this film is that it is completely independently funded, shot, and distributed. The contributor section of the acknowledgements is almost as long as the rest of the end credits.

Damn, this is a fun film. I highly recommend it to those who like ‘80s cinema, Tarantino, well-written action comedies, and just a need to let it all loose. Very satisfying from beginning to conclusion. Or is it not really the end of the story?

IMDB listing HERE

Review: Sorority Babes in the Slimeball Bowl-O-Rama 2

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Sorority Babes in the Slimeball Bowl-O-Rama 2
Directed by Brinke Stevens
Candy Bar Productions; Full Moon Features; MVD Entertainment
62 minutes, 2022
www.FullMoonFeatures.com
www.mvdvisuals.com

The first SBitSBaR (1987) starred the holy trinity of Scream Queens (in no particular order) Brinke Stevens, Michelle Bauer, and Linnea Quigley, all in their horror prime. I saw this when it first came out on VHS when I rented it from my local store in Brooklyn, Video Video. It was a silly, hot mess, but so much fun.

Now, nearly 35 years later, comes Part Dos, directed by Brinke Stevens herself (I knew she was brilliant even in the 1980s), and in cameo roles, both herself and Bauer, with Quigley nowhere in sight except in archival footage (don’t worry, her career is still doing quite well, with the likes of 2017 Bonehill Road and 2020’s Death Drop Gorgeous; according to IMDB, there are conflicting stories both about how Quigley was not asked, and that she was going to be in it but broke her leg). This film was written by Full Moon regular, Kent Roudebush (such as the Giantess films recently reviewed elsewhere on this blog).

Katie O'Neill, Jessie Gill

We are introduced, once again, into the cleavage and spandex world of sorority Pi Epsilon Delta (as opposed to Tri-Delta in the first film), where actors play younger than their actual ages (a trope that goes back even further than 1978’s National Lampoon’s Animal House). Anyway, it is the sorority’s Pledge Night, and ringleader Sarah (Jessie Gill) and her second, Tiffany (Katie O’Neill) are corralling the new recruits, under the strict housemother, drinker Auntie Snake (Kelli Maroney, of 1984’s Night of the Comet, another ‘80s B-film classic, and more recently, 2022’s NightCaller). Auntie is the sister of Spider (Quigley, in the first film). 

As both Sarah and Auntie admit, the sorority is in rough shape, and Sarah wants to bring it “forward” to a better class (pun unintended). There are only two new recruits this year, busty Ginger (Audrey Neal) and multi-inked Devin (Hannah Tullett). We meet them all doing jazzercise in spandex one-sies, and bending over a lot. Not to mention the energetic shower scene; and let us not go into the whole whipped cream montage. Joining them late is leather jacket wearing tough girl Bitsy (Glory Rodriquez); you can tell she’s tough because she keeps throwing “the bird.” I am guessing a secret by her name (PS, I was wrong, but close).

Hannah Tullett, Audrey Neal

As in the first film, there are three doods spying on the sisters, this time via hidden cameras and computers, rather than through an open door. This brain-dead trio are Devin (Luka Parente, who does not live on the second floor, but wears a bowling shirt; I’m not sure if this was a coincidence, or a very wise in-joke), Dinger (Justin Luper), and Turkey (Nathan Blair).

Nathan Blair, Luka Parente, Justin Luper

Of course, the guys get caught and are “forced” to join the sorority to break into the same bowling alley (the real Dickey Lanes, in Cleveland, OH) from 35 years earlier. Man, these people are dumb. I mean, really dumb. The guys hold the bowling pins in front of their pants to emulate their junk, and carry two balls up to their chest to symbolize breasts (with one “motorboating”). The two original pledges accept these doofuses as potential partners, and dance around practically pushing their chests together, while the new one snarls. This is all done during a montage to ‘80s style electronic music. Oh, Brinke, you can do better. Gotta say, as the future body count, there is no one that will make the audience go, “Oh, no!”

During a catfight (of course) at about the halfway mark, a trophy is broken open and out comes our imp, the same puppet used in the first film. In the earlier incarnation, the imp’s voice is high pitched and electronically enhanced (and pre-autotune!). Now, being the son of the original imp, the vocal is deep and sounds stereotypical African-American (voiced by Derek Reid, the writer/producer/director/star of the series, “Black Spider-Man”), who starts off saying “Free at last, free at last / Satan O mighty, I’m free at last.” Oy. He sounds a bit like Audrey II (Levi Stubbs) in Little Shop of Horrors (1986).

Neal, Glory Rodriquez, Gill

As in the original release, Monsieur Imp grants wishes to “thank” the doodle brains for letting him out. but unlike the first, these wishes are given in unexpected manners, seeming taking a nod from the Wishmaster franchise (1997-2002); It does not go well, nor will I go into details. But it is funny. You may see some of the gags coming by the wording of the wishes, but still, it made me smile.

The physical effects look good, and there is a lot of CGI purple smoke and electrical energy that also is effective, especially since this is definitely going for a 1980s vibe. It is all remarkably effective.

Brinke Stevens, Michelle Bauer

There are some nice cameos by Stevens and Bauer, though it was obviously spliced in after. Still, works for the story though it is never explained why they aged if they were trapped in the bottle with the imp.

Okay, to be honest, this is some stupid, sexist stuff, but that is the demographic they are aiming for: teen boys, horny dudes, and people who joyfully remember skimming the aisles of their local video store of their youth as, well, teen boys and horny youth. It is extremely successful in that way, and if this had been released in the ‘80s, it probably would have been a huge VHS hit, that is plain and simple. I am not making any judgments on this, just stating the facts. I enjoyed these kinds of films in the ‘80s as I fit that previous demographic, and this is nicely retro and nostalgic.

I am not only glad this was directed by a woman (reminds me of Richard Pryor being a writer for 1974’s Blazing Saddles, making it possible to use some quite offensive language and actions), but one who was there in the period, so she could have a first-hand experience to make this as loyal to the time as possible. I am also grateful that this film is relatively short, so as not to over-use its topic. There is a hint, however, of a possible sequel to the sequel.

The extras on the Blu-ray are a stack of recent Full Moon trailers, and a short called "Brinke vs. the Imp" (3 min), in which the first half is Stevens discussing the poster of the original film poster when the first release was called The Imp, and the second part shows the person who was the voice of the Imp.

IMDB listing HERE

Warning: spoilers in the trailer

Review: Giantess Attack vs Mecha-Fembot!

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

This is the third and final giantess film in this series of reviews. It is the second part of a franchise, but can also be viewed as a standalone thanks to many flashbacks.

Once again, I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Giantess Attack vs Mecha-Fembot! (aka Giantess Attack 2)

Directed by Jeff Leroy
Full Moon Entertainment; MVD Visual
67 minutes, 2019 / 2022
www.FullMoonDirect.com
www.MVDVisual.com
www.facebook.com/WarOfTheGargantugirls/

This film is directed by Jeff Leroy, as a sequel to his Giantess Attack (2017), as explained in the prologue by a Katy Sagal imitator. Okay. I did not see the previous one, which is recapped through periodic flashbacks here and there, although I reviewed another film by Leroy, Predator World (2017). https://indiehorrorfilms.blogspot.com/2018/11/review-predator-world.html He also did the special effects for Attack of the 50 Foot Cam-Girl (2022) and Giantess Battle Attack (2022).

 

Tasha Tacosa, Rachel Riley

After tearing a city apart and eating numerous people in the previous release, once giantesses and now normal sized Diedre (Tasha Tacosa) and Frieda (Rachel Riley; both from 2022’s AmberRoad) are the subject of protests and lawsuits. Diedre is hiding out high in the mountains in her Fortress of Immeasurable Guilt (which has the house number 3 on the door) with Frieda trying to get her to join the real world (and, of course, catfighting…that’s the theme of the pic, after all). Meanwhile, alien-in-tight-vinyl Metaluna (Christine Nguyen, is shrinking people, such as a scientist, Dr. Drew (John Karyus).

Also fighting are two normal sized actors, Fran (Chelsea Bellas) and Amber (Kali Cook), after being offered roles by sleazy agent Joe Blowfeld (Ben Stobber, who played various creatures in a bunch of Mahal Empire films).

Finally, about three-quarters into this short feature, we finally meet the titular Mecha Fembot (Vlada Fox), under the evil control of Metaluna. She attacks Hollywood, and who comes to the rescue? Our two battling babes, Frieda and Diedre, who at least for a while are able to team up. Can they defeat Mega Fembot? Can they save the city? Can they show more cleavage?

Riley, Vlada Fox

Yes, this film is definitely geared towards a very specific demographic, essentially horny teen boys and horny older fanboys, but those especially with the catfight and macrophilia bug. Yes, there is certainly lots of cleavage and a surprising number of (clothed) crotch shots, thanks to “looking upward” at both our heroes and villains (no relation to the Beach Boys). Sexist as all hell? Yeah. Fun? Kinda. It is played so over the top, that it is nearly cartoonish, like some films that show violence that is unrealistic. However, the scene with Fran and Amber are kind of gratuitous and add nothing to the story, really; it is, however, another chance to show some more skin, another catfight, and a semi-macrophilia in reverse, as they are normal size, and the male in the scene is shrunk, giving that upward perspective anyway. Perhaps they are being set up to be more forward in another sequel? Amazingly, there is actually no nudity.

Nearly all of the film is either green screened (it is pretty obvious when it is) or using models of buildings that are easily collapsible. The humor in it is definitely grade school level, with a nod to the MCU and DCU, such as a nice running joke about becoming unrecognizable through a disguise of just eyeglasses. There is also a character in the coda named Nicky Fury (Alexandra Marie), who, of course, wears an eyepatch. The ending is a possible set-up for a new film, Giantess Attack in Space (although there is no listing for it is indicated in IMDB).

The extras are the trailer, and other Full Moon coming attractions. It may also be worthwhile to check out the documentary about the making of this film, Giant Women,Micro-Budget (2018). 

IMDB listing HERE

Review: Giantess Battle Attack

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

The second of three giantess reviews, this is the second of a two-film franchise, coming after Attack of the 50 Foot Centerfold (2022) As I have stated before, I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Giantess Battle Attack (aka Revenge of the 50 Foot Cam Girl)

Directed by Jim Wynorski
Full Moon Entertainment; MVD Visual
58 minutes, 2022
www.FullMoonDirect.com
www.MVDVisual.com

This sequel to Attack of the 50 Foot Cam-Girl begins in outer space, on the double planet of Buxomus, which is the “Planet of Girlgantuas.” Five seconds in, and I am already saying “really?” with a smile on my face. These films know their demographics to the T…or Double D.

These Girlgantuans (Buxomusites?) are warriors who, as we see right off, battle each other in MMA style. You know they will end up on Earth and meet up with giantess Beverly Wood (Ivy Smith) at some point, as it is in the title.

Led by the planet’s battle champion, Spa-zor (Kiersten Hall, who was also combative in 2019’s Kiss Kiss), aka Space Whore, the Girlgantuans head towards the land of the huge and home of the Wood.

Ivy Smith

Speaking of whom, things have changed quite a bit, though she is still 50 feet tall. However, Fuschia has reduced to normal size (seen only in expositional archival footage from the first release) and boyfriend Bradley (Eli Cirino, seen in a flashback cameo) is no longer involved when Beverly lost all her money in lawsuits due to the damage caused by her fight with Fuschia. Now she works demolition breaking rocks (with her feet), and has a new non-expanded boyfriend, Mike (Brian Gross, who also starred in director Wynorski’s 2012 Gila!), who owns the construction company.

Also back are the three scientists, Dr. Lana Rhodes (Lisa London, who gets to show more cleavage this time around), Dennis (Frankie Cullen), and Gary (Jaret Sacrey, shown in footage from the earlier film), the latter of whom is also reduced. A friend of Bradley’s, promoter Dennis (Frankie Cullen) however, has a fighter girlfriend, Anna Conda (multi-tattooed and septum-ringed Masuimi Max), who he wants to battle Beverly to gain fame and get rich.

There are some interesting twists and turns in the story as Spa-zor, Beverly and Anna finally get to meet up at the finale. I had a laugh when an oil rigs goes off and makes this the equivalent of another fetish, women fighting in an oil (or mud) pit. This gives Beverly the chance to say a line that should be repeated often: “Get off my planet, bitch!

Short and brief, the extras on this Blu-ray is the original trailer, and a collection of Full moon coming attractions (half the same as in the earlier film).

At one point in the film, during a particular jiggle-fest, director Wynorski breaks the third wall ala Woody Allen in What’s Up Tiger Lilly? (1966), to discuss the humorously gratuitousness of the “action.” However, it should be noted that most of the female actors here are actually quite accomplished in their own rights, be it as entrepreneurs, singers, influencers, and/or beauty queens – one was Miss Minnesota and Miss Bikini Model 1999/2000 – etc. Respect).

It would not surprise me if a third film in the series was forthcoming at some point.

IMDB listing HERE

Review: Attack of the 50 Foot Camgirl

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Attack of the 50-Foot Woman (1958)

Film one of three giantess reviews in a series: This and Giantess Battle Attack are a franchise. Giant women, for some men, is a fetish (macrophilia), as is watching women physically fight each other (catfight), and are something I will never really understand, though both are combined in all of these below. But whatever. Of course, giant women films have been around for a while, with the grandmother of all being Attack of the 50 Foot Woman (1958), but was revived with the likes of Attack of the 50 Ft. Woman (1993) Attack of the 60 Foot Centerfolds (1995), and Attack of the 50 Foot Cheerleader (2012).I do not believe there is any doubt that these films are absurdist comedies, thankfully going for the lowest bar and the biggest busts.

Attack of the 50 Foot Camgirl

Directed by Jim Wynorski
Full Moon Entertainment; MVD Visual
61 minutes, 2022
www.FullMoonDirect.com
www.MVDVisual.com

The titular protagonist in this film is egocentric and narcissistic (is that redundant?) super successful social media influencer, probably on sites like OnlyFan, Beverly Wood (newcomer Ivy Smith). She is nasty and will not listen to advice, thinking she knows best at all times: “I’m a self-made visionary,” she states early on. Obviously, the name is a mix of Beverly Hills and Hollywood. The other two main characters are her husband, Bradley (naturally tall Eli Cirino) and their jealous assistant, Fuschia [sic] (Christine Nguyen, aka adult star Jennifer Lee), who wants to replace Beverly.

Ivy Smith, Eli Cirino

We basically meet Beverly as she is filmed taking a shower (naked) while being filmed and endorsing some product. The power structure of the three comes into play pretty quickly, as this is not a long film, and obviously they want to get over the exposition quickly so they can jump to the giantess aspect.

Of course, as I have stated earlier, this is a – er – broad comedy, some of it pretty subtle, such as Beverly referring to sex as “getting unfiltered with you,” and hashtags appearing occasionally as subtitles, e.g., “#sad” appearing to express her emotion.

And how does she get to go from influencer to giantess? Thanks to untested experimental grown-in-the-lab “Unholy Meat-ramony,” supplied by a trio of scientists: Dr. Lana Rhodes (Lisa London, a regular in films from CineRidge Entertainment, such as Love Crime in 2022, and The Wrong Sarah in 2021), Dennis (Frankie Cullen), and Gary (scene stealer Jaret Sacrey). The Bevster eats the food – despite being warned – and achieves the film’s title.

Because of the ridiculousness of the story (not meant as a dis), there is a lot that needs to be just accepted, such as everyone not freaking out about Beverly’s new – er – stature; though I am happy to say that they explain her clothing, rather than doing a “Gilligan’s Island” wardrobe mystery.

I laughed out loud (#lol) when Beverly destroys a billboard with a Full Moon theme (blink and you will miss it). And then, what happens when, in a jealous fit, Fuschia eats some of the GMO food stuff and grows to meet Beverly’s height? Of course, girl fight. Why is it when giantesses fight, they do it in slo mo?

Christine Nguyen, Smith

I liked that there is a couple of references to the original Attack of the 50 Foot Woman. That was a nice homage, but you would have to have seen the original to get it (I grew up watching it on “Chiller Theater” on WPIX in New York).

There is some nice use of both CGI (naturally), and some really fine model making (by Jeff Leroy, the director of 2022’s Giantess Attack vs. Mega-Fembot) for the buildings being destroyed, though obviously shells.

The extras are the Full Moon staple “Videozone” (7 min),where Wynorski, Ivy, and Full Moon’s Charles Band sit around the set’s pool and discuss the movie, filmed before the release because they were still unsure if it was going to be 50 feet or 60 feet. The “Behind the Scenes” (6 min) featurette is separate interviews with the three leads, a couple of backstage shots, and mostly clips from the film. Also included is the trailer for Wynorski/Full Moon’s film Bigfoot or Bust (2022), a cleavage extravaganza of big busted alien women in search of said Sasquatch. There are also a number of other Full Moon trailers.

IMDB listing HERE

Review: Maniac Driver

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Maniac Driver
Directed by Kurando Mitsutake
Akari Pictures; Reelgore Releasing; 8 Ball Films; DiabolikDVD; MVD Visual
75 minutes, 2020 / 2022
www.mvdvisual.com

Although this film is Japanese in origin and language (with subtitles), it may be inspired by the real Hong Kong serial killer portrayed in Dr. Lamb. He was also a taxi driver serial killer.

The opening credits’ title states this is a “Japanese Giallo.” Well, the opening sequence screams of it, as a woman in a spandex bathing suit sensually strips in a shower, and is murdered by the titular, Fujinaga (Tomoki Kimura). The color palate (by Shuji Hamamoto and Mitsuo Kojima) is correct for a Giallo, with lots of primary colors, a knife, and a helmeted killer. Actually, what the opening made me think of was a cross between Italian Giallo and the ending credits of What’s Up Tiger Lily? (1966).

Tomoki Kimura, Iori Kogawa

The tone of the over-thought narration describing the city definitely smacks of Taxi Driver (1976). Kimura even looks a bit like a younger DeNiro; heck, there is even a scene with him in front of a mirror holding a weapon and giving the whole “You talking to me?” speech. I have no doubt this was meant as an homage, rather than a rip-off.

While this definitely has a retro-Giallo feel, there is a Japanese spin on it. For example, as a businesswoman is being chased, she takes off her jacket so the film camera can get her braless bouncing, there is a close-up slo-mo shot of her backside where you can see her underwear beneath her overly short skirt, and, of course, by the end of the scene, her top is exposed. To be fair, in the body of the film (pun not intended), there is also male nudity.

The driver is depressed after his wife was murdered and he was stabbed in a home invasion by someone with the same helmet as him. This sours him on society, and both wants to die and to kill. But, how much of his killing his customers is real and what is fantasy? This is a territory touched on in American Psycho (2020).

The nudity and sex is a-plenty here, so it is no surprising that many of the women/victims in this film come from the world of adult cinema, such as Saryu Usui, Ayumi Kimito, and Ai Sayama (as is stated on the back of the Blu-ray box. Through fantasy and memory, this turns out to be quite a softcore flick. There is also extraordinarily little actual dialogue, with most of the philosophizing happening in the driver’s head. It ranges from injustices, to positive feminism, to despair.

Slowly, as his anger as desperation grows, he starts looking for a victim to take out his perceived vengeance on society and to end his own miserable life. Meanwhile, we see him taking customers in his cab numerous times, through a cab-cam with somewhat blocked faces. Did you know that DeNiro drove a cab in New York for two months to get a better idea of what the character goes through?

There are a lot of shots of Tokyo and the editing (John Migdal) and cinematography (Makoto Hayashi) is noteworthy, such as the city reflected through the moving hood of the dark taxi. Most of the shooting is normalized, but the fantasies are in high-art Giallo colors and lighting techniques. The music during these sequences are also interesting, in a distorted way.

Things pick up when he meets his (adult) “Jody Foster” in the form of injured Mayumi (Iori Kogawa), and he finally sets in motion to carry out his idea for a murder/suicide. Heck, there is even a long-haired villain (Yoshiki Kondô) who is reminiscent of Harvey Keitel.

When the reality is revealed and the facts are finally shown, well, some of it took me by pleasant surprise. The ending nicely sums it up, but I won’t tell…

The extras on this Blu-ray are as follows: an Audio Commentary by the director, Kurando Mitsutake, who fortunately is very fluent in English, so no subtitles needed (born in Toyko, grew up in Fresno, CA). He skillfully goes back and forth between descriptions of what is happening on the screen, and anecdotes about the whole process and the cast/crew. Worth at least one listen. We also learn that the title is a mash-up of insane serial killer flick Maniac (1981), and said Taxi Driver.

The “Maniac Driver: Behind the Scenes”-featurette (30 min) is exactly that, mostly setting up shots (and then we see what they filmed), and includes some brief interviews with the main cast. It is very basic but kept my interest. Finally, there is a Trailer (in English) and Slideshow, along with a nice 4-sided box insert cover with images of the film’s original posters. There are also subtitles available in three languages.

There is a prestigious amount of nudity, sex, and violence, not to mention blood and some gore (SFX by Yoshinari Dohi). The story is a bit weak and repetitive at times, and seems to circle around the point, but by the third Act, it is quite a ride.

IMDB listing HERE

For some reason, the trailer on YouTube is captioned in German:

Review: Premutos: The Fallen Angel (2-Disc Extended Director’s Cut)

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

Premutos: The Fallen Angel (aka Premutos: Der gefallene Engel)
Directed by Olaf Ittenbach
IMAS Filmproducktion; Unearthed Classics; MVD Entertainment
106 minutes, 1997 / 2022
www.unearthedfilms.com
www.MVDentertainment.com

As I said when I reviewed the only other film by Bavarian writer/director Olaf Ittenback that I have seen in its entirety, No Reason (2010), his films are basically bat-shit crazy, and I wanted to see this one because of that, rather than in spite of it. This is the “Director’s Cut” of the film, which is longer and has never before been released in North America. More bizarre for the buck.

For this story, the basis of which is told in narrative form over the credits and lots of bloody violence throughout history shown, the titular Premutos is a fallen angel older than Lucifer, who had power over the dead, with instructions on how to raise the deceased. One man in 1943 uses it to try and revive his dead wife and others who become flesh-gobbling zombies, while villagers with torches search for the madman. This is all presented in a 20-minute prologue before our actual story starts. There is already more blood and gore than most slasher films put together.

Ella Wellmann, André Stryi

The protagonist to start, in the modern era, is ne’er-do-well man-child Matthias (the director, Ittenback), who lives with his S&M-interested sister, Rosina (Heike Münstermann) his mom Inge (Ingrid Fischer), and his military-obsessed, Nazi-era-loving father, Walter (Christopher Stacey, who is arguably too young for the role, but what the Hölle). The latter, while digging up his garden for a plant, finds the hidden potion for raising Premutos. Meanwhile, Matthias is having flashbacks to previous lives during the Plague-ridden 13th Century and in Russia for the Battle for Stalingrad during World War II, among other periods, where he was reincarnated as the son of the titular Fallen Angel, each time meeting a bloody and painful end.

Coming to visit for Walter’s birthday party is Matthias’ sister Tanja (Ella Wellmann), who has been away in China, and has been mooning over a lost love, Hugo (André Stryi), now married to spoiled, comic relief Edith (Anke Fabré). They also show up at Walter’s party. Meanwhile, Matthias has some of that Premutos potion spilled on his…sensitive area, so you know that’s not going to be good for the people at the party, but most likely joyous for the viewer.

Olaf Ittenbach

As Matthias transforms into…well, is it the son of Premutos or Premutos himself? – it could be both; given how much Christian myth is also in the story, since Jeebus and “his father” are different but one in the same according to some versions of the Biblical story – he becomes increasingly violent and ugly (reminding me a bit of Rawhead Rex with less of a make-up budget), and the dead rise up from the mortuary to attack the living, including in pub (where someone is wearing a Ramones shirt with the circle design created by Arturo Vega, d. 2013) and, ‘natch, Walter’s party. As a side note, when the zombies attack, there is a sole Black guest, the amusingly named Christian (Fidelis Atuma), who makes me think of Night of the Living Dead (1968)

There is an enormous cast here, and the director has certainly stretched his budget to the max, with weaponry, explosions, a tank(!), and just gallons upon gallons of fake blood, relying heavily on practical SFX. Peter Jackson would, indeed, be proud. The zombies look cool, and on occasion, so does Premutos/son. What was free and well spread was the sharp sense of humor

Christopher Stacey

There is a lot of Christian symbolism, including a back-story scene of Jeebus and the crucifixion/resurrection (thanks to the “potion” administered by Mary). No one in the film seems overly religious, but that doesn’t keep it from getting knee-deep in the imagery. Even without the religious iconography, the style of the film reminds me quite a bit of Michael Armstrong’s classic Mark of the Devil (1970). But there is also a strong influence by the Italian giallo films of Dario Argento and Lucio Fulci, especially The Beyond (1981), with some George A. Romero thrown in for good measure.

There are some fun extras on this Special Edition, including a “Making of Premutos” featurette (50 min.; available in English and German, and also filmed in 1997). There are lots of interviews with the core cast, and especially the director, discussing the motivation of the characters, the philosophy of gore and free speech without getting preachy, and a large focus on the practical SFX, both the good and bad of it, and discussion about the wintery shooting in Prague. The English dubbed version seems to not translate everything, but the gist is easily gotten and it is worth the watch, even at this length.

“Olaf Ittenbach, ‘The Early Years’” (13 min.), is essentially a “Making Of” of Ittenbach’s earliest films, including Deadly Night (Todliche Nacht) from when he was still a teen, and he was still learning and experimenting. With interview commentary by the director, we see scenes that describe what he is discussing; the main focus is on developing his skills as an SFX artist. If these gore effects interest you, this is both a good primer, and it is interesting to see the limitations of the technology at the time compared to now.

There is also the original cut of the film from its initial release available in both German and an English dub international release. Honestly, I did not watch this, but did see the Director’s Cut in its entirely. There are also some Unearthed trailers, including of this one, and a “Photo Gallery.” Also included is a second CD disc of the film’s soundtrack, which is fun.

This certainly was an insane ride, from the beginning right through to the ironic ending. It was more coherent than I was expecting, I’m happy to say, and it certainly lived up to its reputation. It may be aging like wine over time, because it is so worth the experience.

IMBD Listing HERE 

 

 

 

 

 

                                                                  

Review: Demented

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Demented (aka The Demented)
Directed by Nigel Hartwell
New Blood Entertainment; Flawless Video Creations;
Gate Three Films; Homemade Pie Productions; KBI Productions
96 minutes, 2021
www.newbloodentertainment.com/newblood_demented.html

Just before its release, the film made a subtle title change, from The Demented, as it is currently listed on IMDB, to just Demented, so as not to be confused with another film dealing with zombies with the same name released in 2013. This should also not be confused with the I Spit on Your Grave-ish cult classic Demented (1980, co-starring Harry Reams). So ends the history lesson.

This Canadian film is quite different that those others in that this falls well into the category of torture porn, with a supernatural touch. And in an extremely micro-budget way.

Cheyenne Ennis

Lovebirds Senica (Dakota House) and Amanda (Cheyenne Ennis, giving a brave performance) go up to Senica’s cottage on the lake (filmed at Parry Sound, Ontario, about 2 hours north of Toronto). After dropping a ring on her, they spend the night. When Senica awakes, Amanda is gone. According to a police detective (the ever-fun Felissa Rose), so are her parents, and he’s the central person of interest.

Meanwhile, somewhere there is a room where women are systematically tortured and snuffed for the Dark Web (it’s always the Dark Web, right?) by a burly guy dressed in black, including a bullet-proof vest, and a leather hood. His voice is digitally manipulated, and honestly, I can only make out about half of what he says.

Dakota House

We watch as he’s a-rapin’ (with his pants all the way on and her underwear intact) and a-chokin’ and a-tauntin’ his chained-to-a-bed victims. We see the room through his video camera, a fuzzy black-and-white CCTV on a celling corner, and whichever lens the film’s cameraperson is using to fill in the gaps and keep these scenes from being “found footage” style.

There is also some playing with time, with numerous flashbacks to various periods and present day, making the narrative timeline a bit confusing for a while. In one of these vignettes (past? present? future?), Amanda is a chainee, abused by the dark and mysterious man (though at 30 minutes in, I have a guess on who it may be; I’ll let you know if I’m right, but not who it is, okay? No spoilers).

Between the patterns of abuse, Amanda is visited by knowing spirits (including one played by wrestler Angel Williams), who are helpless to aid her, but communicate quite easily. Don’t get me wrong, this supernatural element is actually what made the film for me. The violence compared to most torture porn is relatively mild and mostly threats (and yes, much full-dressed raping).

But the rules of the film change with Amanda. Her accomplishments are the closest this comes to empowering women (not counting that the main authority figure is the police detective). Women generally are seen as torture victims and strippers. Misogyny? Maybe, but it felt good to have these women get some of their umph back, a lot of good it will do them in the long run.

Nigel Hartwell and Felissa Rose
doing her iconic Angela face

There is a lot of topless women (did I mention the strippers?), and nothing real to talk about in the blood department. There are some cheesy CGI effects at a point, but I believe it was meant to be that way. Y’see, from the way they use scratchy rolling noise on some of the camera images (though new equipment) made to look like VHS in the 1980s would explain the ‘80s look of the company’s logo at the beginning of the film.

The film is overlong at 96 minutes, but there is easily quite a bit that could be excised and not lose any of the story. For example, the “torment” scenes are incredibly mild considered next to something like the Hostel or Saw franchises, but they are on for what feels like a really long time of just the killer yakking away in his hard to make out digitized voice. Too many of the scenes and shots – especially the punishment ones – just seem too “samey,” in part due to the static cameras in the torture room

The acting is okay, but nothing to write home to mother about, though as always, Rose easily holds her own; the two main leads often don’t look like they are trying too hard, especially House, from whom I was expecting more. There are some really well-done shots, including some drone work, which was refreshing after the obvious green screen parts.

Ari Lehman, whose band performs during the final credits

The production pattern is a bit different, but I’m not sure if some of it is intentional on the director’s part, a stylistic choice, or just a distance necessity (i.e., people recorded in different places made to look like they are together). Many times, especially in the police station scenes with Rose, it is pretty obvious that – despite some similar motifs on the walls that I am pretty sure are green-screened – the detective and two of the people she is interviewing are single shots and not in the same room. It seems like House doesn’t know which direction to look, often off to the wrong side of where the Detective would be standing. When she interviews a porn/snuff provider, Brad (Canadian wrestling champion Bret Hart), his acoustical tone is different than hers, and he also looks in the wrong direction. This “separation” with green screen and different sound is also employed with a bartender (by cameo-king Ari Lehman). When Amanda and Senica are introduced as a couple on the drive north, at first this single shot method was used in the car, but then finally a double shot.

One weird plot point to me is that Amanda’s parents are also missing, as it is a family thing with the bad guys. But this is not shown for any other victims. It feels like a pretty big plot can of worms hole that did not need to be opened in the first place.

Speaking of sound, there is an almost amusing moment when we hear a character’s thinking processes, and it was obviously recorded later in a studio by how well it sounds, but also that there is a comment when the actor obviously accidentally falls during the filming, and the narration goes, “Oh, that hurt.” I am so glad they put that in.

The extras are three music videos and three company trailers (including this film).

If I had my druthers, I would like to see them take this film, re-edit it or have third party do it, and see where it goes. It has some nice potential, and I would like to see that fulfilled. And for the record, I was way off on who was the killer.