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Poe (film, 2011)

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poe

Poe is a 2011 American horror film written and directed by Francis Xavier (Night Cry). It stars David Fine, Stelio Savante, Gene Silvers, Sal Landi, Mike Iorio, Christy Sturza, Greg Travis, Felissa Rose, Alisa Schulz, Azure Parsons, Khira Thomas.

Plot teaser:

Brilliant and wealthy Dr. Andrew Casey is a serial killer who goes by the name ‘The Chef’. One night eleven years ago his wife found out. He was arrested and imprisoned at Marathon County Asylum for the criminally insane. Eleven years pass and he is released, completely rehabilitated and moves to Los Angeles under the alias Mr. Jack Conway. Yuppie and former teacher, Johnathon Poe, a descendant of the famed writer Edgar Allan Poe and a brilliant writer in his own right is about to form a bond with the chef as the great doctor begins his spree of killings and cannibalism again…

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Reviews:

” … almost nothing to do with Edgar Allan Poe. To be fair there is an attempt to mimic the gothic tone and mood of his writing but I gave up after an early scene (the whole shot was nearly pitch black as the only light source was a candelabra and not actually lit with lights) where Jonathan inexplicably discovers a secret room behind a bookcase. With such heavy-handed homage and poor film making, there is no reason to be drawn to this movie regardless of how big a fan you are of the real Poe.” Sean Becktel, HorrorNews.net

Despite a couple of mildly promising opening scenes, Xavier’s film soon becomes muddled and tiresome. Attempts to be off-kilter are too obvious  and the narrative grinds to a halt whilst characters spout seemingly ‘meaningful’ dialogue. The director seems to aspire to be the next Ulli Lommel but the world doesn’t need that. An announced sequel hasn’t (thankfully) appeared, so far. Adrian J Smith, Horrorpedia

IMDb

 



Maniac Cop (2015)

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maniac cop remake prequel 2015

Maniac Cop is a 2015 American remake of the 1988 film produced by Danish filmmaker Nicolas Winding Refn and the original director William Lustig (who also helmed the sequels Maniac Cop 2 and Maniac Cop III: Badge of Silence). The screenplay is by Ed Brubaker who penned the Captain America: The Winter Soldier story arc.

Originally announced in 2012 as a prequel by Larry Cohen (It’s Alive; Q: The Winged Serpent; The Stuff), the scripter of the original, it seems that the project is now a fully-fledged remake. Paris-based company Wild Bunch – who also backed the remake of Maniac – are handling pre-sales at Cannes where they will announce a director…

Source: Screen Daily


Horrorpedia Facebook Group (social media)

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Ed Gein (murderer and grave robber)

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Edward Theodore “Ed” Gein (August 8, 1906 – July 26, 1984) was an American murderer and body snatcher. His crimes, committed around his hometown of Plainfield, Wisconsin, gathered widespread notoriety after authorities discovered Gein had exhumed corpses from local graveyards and fashioned trophies and keepsakes from their bones and skin. Gein confessed to killing two women – tavern owner Mary Hogan on December 8, 1954, and a Plainfield hardware store owner, Bernice Worden, on November 16, 1957. Initially found unfit for trial, he was tried in 1968 for the murder of Worden and sentenced to life imprisonment, which he spent in a mental hospital.

His case influenced the creation of several fictional killers, including Norman Bates of the movie and novel Psycho and its sequels, Leatherface of the movie The Texas Chain Saw MassacreJame Gumb (Buffalo Bill) of the novel The Silence of the Lambs, Ezra Cobb of the movie Deranged, Bloody Face of the TV series American Horror Story: Asylum and Eddie Gluskin of the video game Outlast. The 2000 film Ed Gein (also known as In the Light of the Moon) starred Steve Railsback as the serial killer.

Gein’s father was an alcoholic who died in 1940. His mother died on December 29, 1945, at the age of 67. He was devastated by her death; in the words of author Harold Schechter, he had “lost his only friend and one true love. And he was absolutely alone in the world.” Gein held onto the farm where they lived and earned money from odd jobs. He boarded up rooms used by his mother, including the upstairs, downstairs parlor and living room, leaving them untouched; while the rest of the house became increasingly squalid, these rooms remained pristine. Gein lived thereafter in a small room next to the kitchen. It was around this time that he became interested in reading death-cult magazines and adventure stories, particularly those involving cannibals or Nazi atrocities.

On November 16, 1957, Plainfield hardware store owner Bernice Worden disappeared, and police had reason to suspect Gein. Worden’s son told investigators that Gein had been in the store the evening before the disappearance, saying he would return the next morning for a gallon of anti-freeze. Upon searching Gein’s property, investigators discovered Worden’s decapitated body in a shed, hung upside down by ropes at her wrists, with a crossbar at her ankles. The torso was “dressed out like a deer”. She had been shot with a .22-caliber rifle, and the mutilations were made after her death.

Searching the house, authorities found:

  • Whole human bones and fragments
  • A wastebasket made of human skin
  • Human skin covering several chair seats
  • Skulls on his bedposts
  • Female skulls, some with the tops sawn off
  • Bowls made from human skulls
  • A corset made from a female torso skinned from shoulders to waist
  • Leggings made from human leg skin
  • Masks made from the skin from female heads
  • Mary Hogan’s face mask in a paper bag
  • Mary Hogan’s skull in a box
  • Bernice Worden’s entire head in a burlap sack
  • Bernice Worden’s heart in a saucepan on the stove
  • Nine vulvae in a shoe box
  • A young girl’s dress and “the vulvas of two females judged to have been about fifteen years old”
  • A belt made from female human nipples
  • Four nose
  • A pair of lips on a window shade drawstring
  • A lampshade made from the skin of a human face
  • Fingernails from female fingers

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When questioned, Gein told investigators that between 1947 and 1952, he made as many as 40 nocturnal visits to three local graveyards to exhume recently buried bodies while he was in a “daze-like” state. On about 30 of those visits, he said he came out of the daze while in the cemetery, left the grave in good order, and returned home emptyhanded. On the other occasions, he dug up the graves of recently buried middle-aged women he thought resembled his mother and took the bodies home, where he tanned their skins to make his paraphernalia.

Gein admitted robbing nine graves, leading investigators to their locations. Because authorities were uncertain as to whether the slight Gein was capable of single-handedly digging up a grave during a single evening, they exhumed two of the graves and found them empty (one had a crowbar in place of the body), thus apparently corroborating Gein’s confession. 

Soon after his mother’s death, Gein apparently decided he wanted a sex change and began to create a “woman suit” so he could pretend to be female. Gein’s practice of donning the tanned skins of women was described as an “insane transvestite ritual.” Gein denied having sex with the bodies he exhumed, explaining: “They smelled too bad.”

Waushara County sheriff Art Schley reportedly assaulted Gein during questioning by banging Gein’s head and face into a brick wall. As a result, Gein’s initial confession was ruled inadmissible. Schley died of heart failure in 1968, at age 43, before Gein’s trial. Many who knew Schley said he was traumatized by the horror of Gein’s crimes and this, along with the fear of having to testify (especially about assaulting Gein), caused his death. One of his friends said: “He was a victim of Ed Gein as surely as if he had butchered him.”

Gein’s house and property were scheduled to be auctioned March 30, 1958, amid rumors the house was to become a tourist attraction. On March 27, the house was destroyed by fire. Arson was suspected, but the cause of the blaze was never officially solved. When Gein learned of the incident while in detention, he shrugged and said, “Just as well.” Gein’s car, which he used to haul the bodies of his victims, was sold at public auction for $760 to carnival sideshow operator Bunny Gibbons. He later charged carnival goers 25¢ admission to see it.

On July 26, 1984, Gein died of respiratory failure due to lung cancer at the age of 77 in Stovall Hall at the Mendota Mental Health Institute. His grave site in the Plainfield Cemetery was frequently vandalized over the years; souvenir seekers chipped off pieces of his gravestone before the bulk of it was stolen in 2000. It was recovered in June 2001 near Seattle and is now in storage at the Waushara County Sheriff’s Department.

Ed_Gein_Headstone

Wikipedia


Splatter University

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Splatter University poster

Splatter University slashed male victim

Splatter University is a 1984 slasher film directed, edited, co-produced and co-written by Richard W. Haines. It stars Forbes Riley [as Francine Forbes], Ric Randig, Dick Biel, Kathy Lacommare, Laura Gold. It was initially distributed by Troma Entertainment.

Plot teaser:

A patient escapes from a mental hospital, killing one of his keepers and then stealing his uniform. Three years later, a teacher is working late and gets stabbed and killed by the same patient, after he makes his way to the local college. Next semester, the late prof’s replacement and a new group of students have to deal with a new batch of killings…

Reviews:

“This college-themed slasher never takes itself too seriously with a subtle sense of humor, but plays it straight with the slashing! Splatter U is filled with POV shots, red herrings, inventive deaths (watch for the bloodless knife-down-the-throat kill), sex-crazed college students, religious undertones, and some of the most outrageous 80’s fashions, all rounded out with an enjoyably cheesy keyboard synth score.” Jeffrey Lee, Slasher Studios

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” …the movie doesn’t FEEL sleazy or misogynistic like Maniac or some others with a heavy female casualty rate; if not for the rather cheap production value and occasional Happy Birthday To Me-esque hijinks committed by our core cast, I’d actually consider them to be really good shock twists. But the loose and sloppy approach to this sort of material leads me to believe that it wasn’t intentional, and that they probably just didn’t even notice that they forgot to kill any of the male characters, because they were too busy just having fun cashing in on a trend that was on its last leg.” Horror Movie a Day

“Francine Forbes is the only real actor in the cast. She brings a charming innocence to this film. The rest of the cast must be friends or relatives of the filmmakers. They obviously weren’t hired on talent or good looks. The killer’s identity is a bit of a surprise, but the actor looks too silly to be menacing.” Thomas Ellison, Retro Slashers

Buy on DVD from Amazon.com

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Richard W. Haines recalls working on Splatter University:

I graduated NYU’s film school in 1979 and immediately went to work in New York City’s indie film industry. My first job was sound editing Charles Kaufman’s Mother’s Day. He then sent me over to his brother, Lloyd, who operated a low budget production/distribution company, Troma Inc. They had been producing hardcore porn movies but expanded their output to ‘R’ rated sexploitation with Squeeze Play in 1980. I did sound editing for Waitress! then edited Stuck on You, The First Turn On and The Toxic Avenger while simultaneously developing my own properties.

My first feature film was Splatter University which was shot in 1981 at age 24. I co-produced it with my ex-college roommate, John Michaels. We were able to scrape up enough to get the picture on film for $25,000. Then we ran out of money and continued to work on other movies while funding post-production.

Splatter University stocking-masked killer

Although I story boarded the script and did extensive pre-production work, I discovered that principal photography consisted primarily of trouble shooting since nothing went as planned. We secured Mercy College in Yorktown, New York for the school location and were promised two weeks to film there during a break. At the last minute they reduced it to one week. That meant we had to shoot around the clock to get it done. I averaged about five hours of sleep per day. One of the actors didn’t show up so I had to fill in and played the role of a Priest in one scene. Our production manager was so overwhelmed, our leading lady, Francine Forbes, ended up coordinating much of the shoot.

Our special effects artists, Amodio Giordano and Ralph Cordero, were the youngest crew members on set. Ralph was still in high school. They ended up crashing out on the floor of the classroom between F/X shots during the Mercy College shoot rather than going home to rest. We barely made our deadline and they were mopping up stage blood while students arrived back in school after the break. They did a good job despite our budget limitations.

Other locations included the Hollowbrook Drive Drive-In located in Peekskill, New York. My family used to go there when I was a child and the film was booked there in 1984. Audiences could see the actual Drive Drive-In they were attending as they watched that scene in the movie.

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Like many low budget horror films of the era, we shot in 16mm because that was the cheapest way to go. The blow up to 35mm was only $6,000 at the time. Other features that went that route included The Texas Chainsaw Massacre and Martin. We used some NYU equipment by having one of the students who worked on our movie borrow it from our alma mater.

It took another year to edit the film and we discovered it was too short with a 65 minute running time. We showed our rough cut to potential distributors and they told us we needed a minimum of 80 minutes for theatrical release. They suggested adding a framing device making the killer priest an escaped mental patient to avoid offending religious viewers. In addition, they told us to add some Porky’s type humour to enhance it’s appeal to the targeted youth demographic.

I had no choice but to add this footage if I wanted the movie released although it changed the tone of the film. The original cut had fairly good acting by the leads and was a semi-legitimate horror film. By adding the prologue and sophomoric humor it made the film very campy. While I wasn’t crazy about this alteration it’s what gave the picture it’s cult following.

We rounded up non-professionals to shoot these extra scenes and let them to overact and camp it up as requested. We ended up with a 79 minute running time which was acceptable for feature presentation. Since I was still working as an editor at Troma, I licensed the movie to them for distribution so I could track it’s release. In 1986 the rights returned to me and I marketed it afterwards. While far from my best movie, it was a financial success which enabled me to get funding for additional projects.

[Richard W. Haine's recollections first appeared in Filmrage magazine].

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Bloodrage (aka Never Pick Up a Stranger, 1979)

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Mean-spirited US poster artwork

Bloodrage (also known as Never Pick up a Stranger) is a 1979 psycho thriller exploitation film directed by Joseph Zito (under the pseudonym Joseph Bigwood) from a screenplay by Robert Jahn. It stars Ian Scott, Judith-Marie Bergan, James Johnston, Betsy Ramlow and Lawrence Tierney (The Kirlian Witness; Silver Bullet; The Horror Show).

Director Zito previously directed Abduction (1975) and went on to helm two slashers, The Prowler and Friday the 13th: The Final Chapter, before focusing on reactionary action movies.

Bloodrage hooker victim

Plot teaser:

A young man named Richard visits Beverly, a local prostitute, and runs into her boyfriend, a police officer named Ryan, on the way into Beverly’s home. Richard and Beverly get into an argument, which ends with Richard accidentally shoving Beverly through a window, killing her. Richard cleans up the scene, evades Ryan when he returns from running errands, and hitchhikes to New York City after disposing of Beverly’s body.

Bloodrage 1

Richard acquires a room in a dingy motel, gets a job at a bottling company, befriends a neighboring drug dealer named Candice, and voyeuristically spies on Nancy, a prostitute who lives across from Candice. Intoxicated by what he felt during Beverly’s death, Richard murders a woman named Lucy, torturing and humiliating her beforehand. Ryan, suspicious of Beverly’s disappearance, heads to New York in search of her, enlisting the aid of the local police, and passing photographs of her around at strip clubs and bars.

Bloodrage 1979 strippers

During the course of his investigation, Ryan spots Richard in a restaurant, and hears a broadcast announcing that Beverly’s remains were uncovered. Concluding that Richard probably killed Beverly, Ryan finds out where he is staying, and heads there…

Bloodrage 1979 Ian Scott as Richard

Reviews:

” …oozes the atmosphere of the sleazy 70’s and is bound to upset even the steadiest of stomachs, not because it is overly bloody (it’s not) but because of the matter-of-fact way that director Joseph Bigwood (actually Joseph Zito using a pseudonym) treats the material and characters. While the storyline is of the basic ‘serial killer murders prostitutes’ formula, the acting and situations seem so natural and unhampered by not having a big budget (this is an extremely low budget effort) that it makes the killings all the more horrendous”. Fred Adelman, Critical Condition

Bloodrage 1979 voyeuristic shot of Betsy Ramlow

“The unpolished acting works, too, giving things a reasonably authentic flavor, with Scott especially hitting all the right notes as Richie. This is a guy who would creep you out if you even bothered to pay attention to him, but is so non-descript and unassuming that you probably wouldn’t. You can already hear his neighbors being interviewed on the news saying “I guess I’m kinda surprised he’d do something like this, he just seemed like one of those guy who was sort of — I dunno, there, ya know? Ya never had much reason to pay attention to him one way or another.” How many times have we heard a variation on those very words from somebody talking about a real life psycho?” Trash Film Guru

Choice dialogue:

“She was beautiful… she disgusted me.”

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Wikipedia | IMDb


Blood Rage (aka Nightmare at Shadow Woods)

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Blood Rage (aka Nightmare at Shadow Woods) is a 1983 slasher film written by Bruce Rubin and directed by John Grissmer (Scalpel/False Face, 1976). It stars Louise Lasser (Frankenhooker), Mark Soper (Graveyard Shift II), Marianne Kanter (who also produced this and Dark August  in 1976), Julie Gordon and sfx makeup artist Ed French (Amityville II: The Possession, Sleepaway Camp, The Stuff). It is not to be confused with the 1979 film Bloodrage (aka Never Pick Up a Stranger).

Although the film was shot in 1983, it was given only a limited release theatrically in the United States by the Film Concept Group under the title Nightmare at Shadow Woods in 1987. It was released on VHS by Prism Entertainment the same year under the title Blood Rage and this is the title it is now best known by. The Nightmare at Shadow Woods version is missing an early scene where Maddy visits Todd at the mental hospital, but includes a swimming pool scene not found in the Blood Rage version. The Nightmare at Shadow Woods version had a budget US DVD release in 2004 by Legacy Entertainment, but as of September 2011 is out of print.

Plot:

Todd and Terry are twins. They are blonde, cute, bright and identical in every respect, with one exception. One of them is a murderer. This starts one night at a drive-in theater when a teenager was slaughtered in the back seat of his car while his girlfriend watched. Todd is found guilty for the heinous crime and is locked away in an asylum.

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Years passed and Terry lives happily with his mother (Louise Lasser), who smothers him with enough love for two sons. All is fine until one Thanksgiving when they receive news that Todd escaped. Terry goes on a killing spree to ensure that Todd goes back to the asylum. His first kill is his mother’s fiancée, when he chops off his arm with a machete, before stabbing him to death. Meanwhile, Dr. Berman and her assistant, Jackie, go out in search for Todd. Jackie meets a sticky end, when he is stabbed by Terry. Dr. Berman also suffers the same fate. Whilst in the woods looking for Todd, she comes across Terry, who cuts her in half with the machete, leaving her to die…

blood rage 1983 nude ass

Reviews:

“This fantastic slasher film impresses with some very ballsy gore; everything from bloody severed heads and split open brains to women chopped in half and guys stabbed in the neck with barbecue prongs. While the film doesn’t offer much but killing and running, and I really would have liked some more meat with my potatoes, it still manages to be enthralling and an honest to God stand up and cheer blood bath. This is really all you need in a good slasher movie.” Jose Prendes, Strictly Splatter

[Movie]Nightmare at Shadow Woods (1987)_01

“It’s all rather amusing yet somehow cruel at the same time, and it’s this element of mean-spiritedness that runs consistently throughout the film and hurts it to a degree … never quite knowing how to react in certain scenes had me a little alienated and made some of the funny stuff seem almost tacky or inappropriate. And the last scene, while ultimately fitting and not entirely downbeat, still resonates an eerie and disturbing message about parents who show favoritism toward their children, and will leave you with a bad taste in your mouth.” Hysteria Lives!

blood rage 1983 slasher hand chopping gore

“While the body count isn’t jaw-dropping, there are still nine impressive kills by Terry that are, shall I say, “gore-ifying.” The acting was all quite good, and they only terrible acting I can really pinpoint is by Marianne Kanter as Dr. Berman, Todd’s doctor. Just look at her acting in her death scene to see what I mean. The rest are all quite good, even if the “mom” character was pretty over the top.” HorrorBid.com

 

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Wikipedia | IMDb

We are deeply indebted to Critical Condition for some images above. Visit Fred’s fascinating site to read hundreds of reviews of movie obscurities.


Ed Gein – murderer and grave robber

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Edward Theodore “Ed” Gein (August 8, 1906 – July 26, 1984) was an American murderer and body snatcher. His crimes, committed around his hometown of Plainfield, Wisconsin, gathered widespread notoriety after authorities discovered Gein had exhumed corpses from local graveyards and fashioned trophies and keepsakes from their bones and skin.

Gein confessed to killing two women – tavern owner Mary Hogan on December 8, 1954, and a Plainfield hardware store owner, Bernice Worden, on November 16, 1957. Initially found unfit for trial, he was tried in 1968 for the murder of Worden and sentenced to life imprisonment, which he spent in a mental hospital.

His case influenced the creation of several fictional killers, including Norman Bates of the movie and novel Psycho and its sequels, Leatherface of the movie The Texas Chain Saw MassacreJame Gumb (Buffalo Bill) of the novel The Silence of the Lambs, Ezra Cobb of the movie Deranged, Bloody Face of the TV series American Horror Story: Asylum and Eddie Gluskin of the video game Outlast. The 2000 film Ed Gein (also known as In the Light of the Moon) starred Steve Railsback as the serial killer. Ed Gein: The Butcher of Plainfield (2007) cast Kane Hodder (best known for playing Jason Vorhees in four Friday the 13th movies and Victor Crowley in the Hatchet trilogy) as the eponymous murderer.

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Buy Ed Gein: The Butcher of Plainfield on DVD from Amazon.co.uk | Amazon.com

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Deranged

Gein’s father was an alcoholic who died in 1940. His mother died on December 29, 1945, at the age of 67. He was devastated by her death; in the words of author Harold Schechter, he had “lost his only friend and one true love. And he was absolutely alone in the world.” Gein held onto the farm where they lived and earned money from odd jobs. He boarded up rooms used by his mother, including the upstairs, downstairs parlor and living room, leaving them untouched; while the rest of the house became increasingly squalid, these rooms remained pristine. Gein lived thereafter in a small room next to the kitchen. It was around this time that he became interested in reading death-cult magazines and adventure stories, particularly those involving cannibals or Nazi atrocities.

deviant ed gein

Buy Deviant: The Shocking True Story of Ed Gein, the Original Psycho book from Amazon.co.ukAmazon.com

On November 16, 1957, Plainfield hardware store owner Bernice Worden disappeared, and police had reason to suspect Gein. Worden’s son told investigators that Gein had been in the store the evening before the disappearance, saying he would return the next morning for a gallon of anti-freeze. Upon searching Gein’s property, investigators discovered Worden’s decapitated body in a shed, hung upside down by ropes at her wrists, with a crossbar at her ankles. The torso was “dressed out like a deer”. She had been shot with a .22-caliber rifle, and the mutilations were made after her death.

Searching the house, authorities found:

  • Whole human bones and fragments
  • A wastebasket made of human skin
  • Human skin covering several chair seats
  • Skulls on his bedposts
  • Female skulls, some with the tops sawn off
  • Bowls made from human skulls
  • A corset made from a female torso skinned from shoulders to waist
  • Leggings made from human leg skin
  • Masks made from the skin from female heads
  • Mary Hogan’s face mask in a paper bag
  • Mary Hogan’s skull in a box
  • Bernice Worden’s entire head in a burlap sack
  • Bernice Worden’s heart in a saucepan on the stove
  • Nine vulvae in a shoe box
  • A young girl’s dress and “the vulvas of two females judged to have been about fifteen years old”
  • A belt made from female human nipples
  • Four nose
  • A pair of lips on a window shade drawstring
  • A lampshade made from the skin of a human face
  • Fingernails from female fingers

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Buy Ed Gein: Psycho by Paul A. Woods from Amazon.comAmazon.co.uk

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When questioned, Gein told investigators that between 1947 and 1952, he made as many as 40 nocturnal visits to three local graveyards to exhume recently buried bodies while he was in a “daze-like” state. On about 30 of those visits, he said he came out of the daze while in the cemetery, left the grave in good order, and returned home emptyhanded. On the other occasions, he dug up the graves of recently buried middle-aged women he thought resembled his mother and took the bodies home, where he tanned their skins to make his paraphernalia.

Gein admitted robbing nine graves, leading investigators to their locations. Because authorities were uncertain as to whether the slight Gein was capable of single-handedly digging up a grave during a single evening, they exhumed two of the graves and found them empty (one had a crowbar in place of the body), thus apparently corroborating Gein’s confession. 

Soon after his mother’s death, Gein apparently decided he wanted a sex change and began to create a “woman suit” so he could pretend to be female. Gein’s practice of donning the tanned skins of women was described as an “insane transvestite ritual.” Gein denied having sex with the bodies he exhumed, explaining: “They smelled too bad.”

ed gein prism dvd

Buy Ed Gein starring Steve Railsback on DVD from Amazon.co.uk

Waushara County sheriff Art Schley reportedly assaulted Gein during questioning by banging Gein’s head and face into a brick wall. As a result, Gein’s initial confession was ruled inadmissible. Schley died of heart failure in 1968, at age 43, before Gein’s trial. Many who knew Schley said he was traumatized by the horror of Gein’s crimes and this, along with the fear of having to testify (especially about assaulting Gein), caused his death. One of his friends said: “He was a victim of Ed Gein as surely as if he had butchered him.”

Gein’s house and property were scheduled to be auctioned March 30, 1958, amid rumors the house was to become a tourist attraction. On March 27, the house was destroyed by fire. Arson was suspected, but the cause of the blaze was never officially solved. When Gein learned of the incident while in detention, he shrugged and said, “Just as well.” Gein’s car, which he used to haul the bodies of his victims, was sold at public auction for $760 to carnival sideshow operator Bunny Gibbons. He later charged carnival goers 25¢ admission to see it.

On July 26, 1984, Gein died of respiratory failure due to lung cancer at the age of 77 at the Mendota Mental Health Institute. His grave site in the Plainfield Cemetery was frequently vandalized over the years; souvenir seekers chipped off pieces of his gravestone before the bulk of it was stolen in 2000. It was recovered in June 2001 near Seattle and is now in storage at the Waushara County Sheriff’s Department.

Ed_Gein_Headstone

psycho 50th anniversary blu-ray

Buy Psycho 50th Anniversary Blu-ray from Amazon.com

DERANGED_2D_DUAL_REV

Buy Deranged on Arrow Video Blu-ray + DVD from Amazon.com | Amazon.co.uk

texas-chainsaw-seriously-ultimate-edition-blu-ray

Buy The Texas Chain Saw Massacre: Seriously Ultimate Edition on Blu-ray Disc from Amazon.co.uk

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Wikipedia | Related: Fred West (serial killer)

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Boone Helm – cannibal and serial killer

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Boone Helm (1828 – January 14, 1864) was a mountain man and gunfighter of the American West known as the Kentucky Cannibal. Helm was a serial killer who gained his nickname for his opportunistic and unrepentant proclivity for the consumption of human flesh taken from the bodies of enemies and traveling companions. While this was usually done in survival situations, Helm sometimes took flesh in preparation of being in a survival situation.

Boone Helm was born in Kentucky into what was considered an honest, hard-working and respected family. Helm’s family moved to Missouri when he was still a boy. Helm delighted in demonstrating feats of strength and agility, and would goad men into fights and regale others by throwing his Bowie knife into the ground and retrieving it from a horse at full gallop. In one incident that demonstrates his contempt for authority, Helm, on horseback, rebuffed the sheriff’s attempt to arrest him and walked his horse up the stairs of a courthouse and into the courtroom, while circuit court was in session, and verbally harangued the judge.

Helm married 17-year-old Lucinda Browning in 1848 and soon fathered a daughter. Helm became known for his heavy drinking, riding his horse into the house, and beating his wife. The domestic violence grew to such an extent that Lucinda petitioned for divorce. Helm’s father paid for the costs of the divorce. In return, Boone Helm bankrupted his father and ruined his family’s reputation. Helm then decided to move to California, as many others did, in an attempt to find gold.

He enlisted the help of one Littlebury Shoot (an actual person’s name!) to accompany him but when the younger man attempted to back out of the arrangement, Helm stabbed him in the chest, killing poor Shoot instantly. Helm’s brothers and friends pursued and then captured Helm but his alarming behaviour eventually convinced the group that the authorities would be better to take charge of the situation. Helm was committed to an asylum but managed to escape from his warder when on an ill-advised traipse around the local woods.

Continuing on his way to California, Helm continued to dispatch any man who got in his way, eventually confessing to an assembled bunch of renegades that he had devoured some of the victims:  “Many’s the poor devil I’ve killed, at one time or another… and the time has been that I’ve been obliged to feed on some of ‘em”. A skirmish with some Native Americans led to the group being isolated and adrift in the wilder regions of Oregon during the winter, low on food, provisions and warm clothing. The horses were the first to be sacrificed for both food and their hides but one by one, the party succumbed to the elements, leaving just two; Helm and a man called Burton. In time, Burton elected to shoot himself than suffer the potential indignities that presented themselves – Helm felt otherwise, tucked into one of his dead friend’s legs and put the other under his arm for later.

Helm eventually neared his destination but was still wanted by the law and fled to San Francisco, California. Whilst in California, Helm killed a rancher who had befriended him and taken him in, sheltering him from the vengeance of the law.

Helm then traveled to Oregon and resumed robbing people for a living, frequently murdering them. In 1862 after heavy drinking Helm gunned down an unarmed man named Dutch Fred in a saloon and fled. While on the run, Helm ate another fugitive who had been accompanying him. Captured by the authorities, Helm implored his brother “Old Tex”, one of Helm’s twelve siblings, for assistance. With a considerable amount of money, “Old Tex” paid off all of the witnesses. Unable to convict Helm without witnesses, the authorities released him and he accompanied his brother to Texas. Helm soon reappeared at many of the settlements mentioned before, killing many more men in the process. Finally Helm was apprehended in Montana.

After teaming up with the notorious Henry Plummer and his gang, Helm and four other gang members were captured, arrested, and tried in secret. At trial, Helm kissed the Bible and then proceeded to perjure himself, accusing Jack “Three-Fingered Jack” Garner, Helm’s close friend and fellow gang member of crimes Helm himself had committed. The Montana Vigilantes hanged Helm, Gallager, and other members of the gang in Virginia City, Montana on January 14, 1864 in front of a crowd of six thousand. Upon seeing his friend Gallager hanged, Helm reportedly remarked “Kick away old fellow. My turn next. I’ll be in Hell with you in a minute.”

When the executioner approached Helm, he allegedly exclaimed “Every man for his principles! Hurrah for Jeff Davis (the President of the Confederate States during the Civil War)! Let ‘er rip!” and then jumped off of the hangman’s box before it could be kicked away. Boone Helm is buried in Virginia City’s Boot Hill cemetery – it is unknown exactly how many men he killed and ate.

Daz Lawrence, Horrorpedia

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The Catman of Paris

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The Catman of Paris is a 1946 American horror/mystery film, directed by westerns specialist Lesley Selander (Fury, The Vampire’s Ghost) and starring Carl Esmond, Lenore Aubert (Abbott and Costello Meet Frankenstein), Douglass Dumbrille and Gerald Mohr (The Angry Red Planet).

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It’s 1895 and the upper echelons of Parisian society are gathered to welcome returning hero, Charles Regnier (Esmond) to their midst, after the runaway success of his latest book. Sadly for Regnier, this turns out to not quite be the case, The Men In Suits being more than a little concerned that his writing appears to be informed by top-secret government documents. To make matters worse, the very same evening, an official who is connected to the documents is brutally murdered, suspicion immediately being focussed on the author.

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The finest police minds of the French capital are scrambled (Inspector Severen, Mohr and the Prefect of Police, Fritz Feld, The Golem), the results being a beautifully-crafted diorama of the local streets and the somewhat wild shot in the dark that the savagely-scratched victim pointed to the culprit being a metamorphosed human, there being a history of “man turning into wolves and vultures”. Yes, vultures. Regnier, we learn, has suffered from bouts of amnesia since he returned from a jaunt in the Tropics, and he is concerned when it is pointed out by Severen when interviewed the following morning, that he is still wearing his clothes from the previous evening. He is not arrested but the police have him nailed as their prime suspect. Alas, the next victim is his fiancée, Marguerite (the stunning Adele Mara, Curse of the Faceless Man), the killer has his identity hidden from us, though is heralded by a bizarre transformation scene showing large waves and a bobbing buoy followed by a yowling feline.

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Regnier is now convinced of his guilt but is offered words of comfort by his friend, Henry Borchard (Dumbrille) and the daughter of his publisher, Marie (Aubert), who warns him that he must flee to safety before the police inevitably come for him. After a thrilling horse-drawn carriage chase, Regnier bemoans his fate, whilst the audience is treated to a fanciful explanation for the monster, the celestial heavens conspiring to periodically curse a man with murderous feline tendencies, the last time in 1845, this time, the ninth, doomed to be the last of the ‘cat’s’ lives. By the time the police do arrive, Marie’s life is in real danger and as the mist descends in the mansion’s grounds, the mysterious creature threatens to claim yet another victim.

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It’s interesting to see how horror films managed to be made whilst the Second World War raged, and in its immediate aftermath, The Catman of Paris offers no moral posturing or knowing nods, only an hours worth of rather aged thrills. An unusual influence is the undervalued Werewolf of London, Henry Hull’s doomed travails in Tibet essentially echoing the protagonist of this film, though why ‘the tropics’ should be evocative of waves and sea furniture is a little bemusing. Other more superficial influences include Val Lewton’s Cat People, the dark streets and top hat and cape of Jack the Ripper and even the lost Lon Chaney film, London After Midnight, the latter allegedly offering almost as brief a glimpse at the monster as this film. The make-up by Bob Mark (Valley of the Zombies) is excellent, though, being a whodunnit, it is sadly necessary to keep the identity of the Catman a mystery until, literally, the last five minutes.

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At only 65 minutes, there is still an impressive amount of action crammed in here, of particular note the carriage chase, which threatens to break out into 19th Century French Connection insanity. There is a fundamental problem, that of the almost perverse insistence at convincing us, the audience, that cats are in any way frightening – rats or bats maybe but the friendly moggy that keeps popping up to remind us what we’re watching does nothing to support this ludicrous notion. The hypothesising is terrifically silly, culminating in an Allo, Allo-accented cry of, “Wi zer faytures of ay kit!”. The largely internationally-flavoured cast of B-movie nearlies have their hearts in the right place, even if they’ve mislaid their scripts. A product of Republic Pictures, known for their Poverty Row, ‘schlock and flaw’ conveyor belt of trash, the surprise ending, at least, is certainly worth sticking around for.

Daz Lawrence, Horrorpedia

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” … even a mouse should be able to watch without too much great alarm. For the ‘cat’ in this case is permitted such infrequent appearance on the screen and is such a decrepit looking monster that it is more to be pitied than feared.” The New York Times, 1946

IMDb

 


Found

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‘Marty loved horror movies… Until his life turned into one.’

Found -stylized as found. – is a 2012 American horror film written and directed by Scott Schirmer on a $8,000 budget and starring Gavin Brown, Ethan Philbeck, Phyllis Munro and Louie Lawless. It is based on the novel of the same name by Todd Rigney. The October People picked up the distribution rights in 2014 after the movie was positively received at various film festivals.

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Plot teaser:

Marty is the ideal fifth grader. He gets good grades, listens to his teachers, and doesn’t start trouble in class. But a darkness is beginning to fall over Marty’s life. The kids at school won’t stop picking on him, his parents just don’t seem to understand him, and now Marty must grapple with a terrible secret that threatens to destroy life as he knows it — his big brother is a serial killer! Brotherly love is put to the ultimate test in this emotional coming-of-age story that descends into full-blown horror…

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The film was notably banned twice by Australia’s film censor. A heavily cut version missing about 7 minutes was given an R18+ rating on the 3rd submission. In the UK it was passed 18 for strong bloody violence, sexualised violence, gory images after 4 seconds of BBFC compulsory cuts. Specifically, “A cut was required to remove sight of a murderer’s erect penis, during a scene of sadistic sexualised violence and threat.” See more at Melon Farmers where suspicions are raised that the UK release may be a pre-cut version. The US DVD is uncut.

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 Buy the uncut DVD of Found from Amazon.com

Reviews

“All of the hype from the fanboys is true. Scott Schirmer’s Found is an amazing modern horror classic that wears its influences on its sleeve. Found is psychological horror that lulls you into one train of thought, then smashes all of your senses with the completely shocking and horrific climax that you will be talking about with your friends for ages.” Cinesploitation

“Overall Found is a truly original horror film. Pulled off with a super low budget, Found is a real achievement. It’s shockingly dark and violent but it goes places rooted in real emotions and characters. I can’t wait to see what Schirmer does next.” Dark of the Matinee

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“The acting is stilted and stiff, making for an oddly incongruent tenor to the spirit of a film that borders of self-parody (this would be miles more enjoyable if it was). It’s hard to fully appreciate the gravity of the subject matter when the lackluster dialogue and delivery mostly nulls the effect (i.e. the film’s many slurs, which attempt to add an edge to the storytelling, come off as dulled and weak). Imagine a 12-year-old kid trying to deliver a solemn speech about bullying after he or she has sucked some helium out of a balloon. This is what Found is essentially like.” Sound on Sight

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Wikipedia | IMDb |

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Man Bites Dog

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Man Bites Dog (French: C’est arrivé près de chez vous, It Happened in Your Neighborhood) is a 1992 Belgian darkly comic crime-mockumentary written, produced and directed by Rémy Belvaux, André Bonzel and Benoît Poelvoorde, who are also the film’s co-editor, cinematographer and lead actor respectively.

The film follows a crew of film-makers following a serial killer, recording his horrific crimes for a documentary they are producing. At first dispassionate observers, they find themselves caught up in the increasingly chaotic and nihilistic violence.

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In modern day Belgium, a small amateur film crew are filming the exploits and philosophical musings of a very ordinary man, Ben (Poelvoorde, A Town Called Panic) who happens to be a serial killer. In between pointing out the intricacies of the local architecture and nature of the chattering classes, he dons a suit and kills people for both fun and profit, however small. Accompanying him on both his killing sprees and visits to his mother and grandparents, the film crew view their subject at arms length, shooting the minutiae of his family life with the same unedited, cold glare as his barbaric and heartless murders. We are distantly introduced to Ben’s girlfriend, who he reminisces about meeting when he was 17 or 18 and she was 10…

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Ben explains, matter-of-factly, that he likes to begin his week by killing a postman (which we duly see in close-up) as, not only does it supply him with a cache of un-banked giros, it also alerts him to potentially rich elderly folk in the area – the elderly being his favourite prey due to their lack of resistance and habit of surrounding themselves with their accumulated wealth. Masquerading as a film crew documenting the lives of the elderly, they enter the residence of an old lady in a tower block apartment and before she can fully answer the first question, Ben bellows in her ear, causing her to have a heart attack. He advises both the crew and the watching audience that his keen eye spotted a bottle of tablets relating to heart complaints on the table as they entered, his observation skills allowing to him ‘save a bullet’ whilst still serving as a perfect opportunity to loot her house. He guides us through the rooms, highlighting the places he finds hidden cash, which indeed he does. He has already taught the crew the science of ballasting a corpse with the correct weight according to the gender and age of the victim, detailing the importance of considering the very old or very young (less weight due to their “porous bones”) and even the optimum amount for a midget.

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The documentary crew become more complicit as time passes – from simply observing, they begin to aid in the killings in small ways (adjusting lighting, helping to bundle the corpses in rugs and throwing the evidence into canals and quarries) and when they run out of funds, Ben returns the favour by offering to pay for the remainder of the shoot, his ego and vanity now truly out of control. We realise Ben is not only hateful of society generally but has special contempt for immigrants and women. When goaded by the reporter, Remy (Belvaux) during what become regular, Bacchanalian meetings, as to why he only attacks the most vulnerable and defenceless members of society, he is greatly angered and suggests they head to the suburbs for a more challenging task.

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Ben’s bravura performance is thrown by the slaying of a young man and woman in their house being interrupted by a small child who witnesses his parents being killed. After a chase in the nearby woods and the assistance of the crew, the child is returned to the house and suffocated. To follow, a ‘standard’ kill also goes awry, one victim fleeing from the car he was ambushed in and taking shelter in a factory. He is eventually shot dead but not before the crew’s sound recordist is also killed in the cross-fire. Incredibly, on the way out of the factory, they stumble upon another camera crew, a virtual matryoshka doll of a film covering a film covering a film. It goes without saying that the new crew and quickly and decisively dealt with.

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Although visibly shaken, Remy is certain his dead colleague would have accepted his fate and that they all realise their jobs come with ‘occupational hazards’. Further footage of his family’s somewhat humdrum problems are punctuated by a house invasion by Ben and the crew, a young couple rudely interrupted in flagrante. Any comedic elements to the film are resolutely trampled upon as the film-makers and subject gang-rape the girl, Ben still offering his thoughts and tips whilst he takes his turn. The pair are later murdered and gutted. Ben’s violence becomes more and more random until he kills an acquaintance in front of his girlfriend and friends during a birthday dinner. Spattered with blood, they act as though nothing horrible has happened, continuing to offer Ben presents. The film crew disposes of the body for Ben. After a victim flees before he can be killed, Ben is arrested, but later escapes. At this point someone starts taking revenge on him and his family. Ben discovers that his parents have been killed, along with his girlfriend: a flautist, she has been murdered in a particularly humiliating manner, with her flute inserted into her anus. This prompts Ben to decide that he must leave. He meets the camera crew to say farewell and in typical manner begins to poetically conclude the documentary with his now well-rehearshed panache but it seems he has made one too many enemies along the way…

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Depending on your viewpoint, it was either incredibly fortuitous or horrendous bad luck that Man Bites Dog appeared within months of Quentin Tarantino’s Reservoir Dogs, Abel Ferrara’s Bad Lieutenant and Michael Haneke’s Benny’s Video, all examples of film-makers pushing the boundaries of cinema and being unafraid at the depiction of violence and showing the perpetrators of crime as being essentially unremarkable, often likeable people. Shot in black and white and using only diegetic sound, Man Bites Dog still made a huge impression upon release in 1992, the graphic and unflinching violence made all the more savage by the brevity and simplicity of the kills – although there are few lingering shots, there is no flinching from the murder of neither elderly ladies nor small children. The casting of the film-makers themselves in the main parts – with Poelvoorde as the assassin, and each of his co-writers playing the crew members – helped make this low-budget black-and-white picture affordable, the almost unthinkably low budget of around £15,000 being raised amongst their friends, families and French-speaking Belgian Film Trust. The somewhat blurred lines near the beginning of the film as to whether what we’re seeing is real, film or documentary are mirrored by the crew themselves who forget their intended role as both the charisma of Ben and the thrill of the attacks consume them.

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Unusually, the murders are mostly gun kills, an unusual tack for a serial killer to take (The Town That Dreaded Sundown is another rare example) but the swift dispatch is entirely in keeping with Ben’s view of society and the many expendable groups who blight his life – a black security guard is chastised for ‘camouflaging’ himself in the dark due to his colour. Though known as being darkly comic, it’s not a film you should expect to be laughing at, the absurdity of the premise being a little too close to real life, especially with the subsequent rise of reality television and ever-unblinking news reports of any manner of horrors. It might be reading too much into the film to query how on Earth the faux documentary-makers ever intended to cut the film for actual public consumption.

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Upon release, the film received the André Cavens Award for Best Film by the Belgian Film Critics Association (UCC), played at the Cannes Film Festival in 1992, where it was awarded the SACD award for Best Feature in the Critics’ Week, and went on to win prizes at the Toronto Film Festival and from the French Syndicate of Film Critics. It was a box-office success in its home country, where it out-grossed Batman Returns and was only just held off the number one spot by Lethal Weapon 3. Man Bites Dog was not without its critics, most of them armed with scissors – the film was heavily edited in America and Australia, the film booker for the Tokyo Film Festival fired for simply trying to screen it. It was banned outright in Sweden whilst in France, the poster, originally depicting a baby’s dummy flying out of the assassin’s gun, being replaced by a set of dentures. Perversely, the film was released uncut in the UK.

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The magnificent Poelvoorde went on to have huge success in his native Belgium in rather more salubrious fare and also a lead role in the Oscar-nominated, Coco Before Chanel. Rémy Belvaux never shrank from his enfant terrible tag and achieved further notoriety in 1998 for throwing a custard pie at Bill Gates whilst he was visiting Brussels. Tragically, Belvaux committed suicide in 2006 at the age of only 39 after a long struggle with depression.

Daz Lawrence, Horrorpedia.

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Killers

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Killers - in Japanese: キラーズ, “Kirazu” – is a 2014 Japanese-Indonesian psychological thriller film directed by Indonesian director duo The Mo Brothers (Macabre) and starring Kazuki KitamuraOka AntaraRin Takanashi and Luna Maya. This film marks the first collaboration on a film in the thriller genre between Japan and Indonesia. The story was written by Takuji Ushiyama with Timo Tjahjanto of The Mo Brothers.

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There are a few differences between the Indonesian theatrical version and the Japanese and International theatrical version. The Indonesian version has been edited, with scenes containing  violence and nudity being removed or softened.

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Plot teaser:

In Tokyo, a serial killer is murdering women and posting his violent crimes on-line. In Jakarta, a rogue vigilante uploads his murdering spree for the world to see. A psychotic game of cat and mouse ensues as the two men battle for notoriety. Soon it becomes clear that it’s only a matter of time until the two killers square off face to face…

killers blu

Buy Killers on Blu-ray from Amazon.co.uk

Reviews:

“Only the Mo Brother’s second feature film together, Killers is a riveting powerhouse of a film, exploring the darkest recesses of the human mind with two fantastic lead performances. This really is beautiful understated horror cinema at its most watchable.” Cinehouse

“One of the best movies that we’ve seen in 2014, Killers is a harsh, nasty little look at people, and what drives them to kill. If you’re a fan of violent thrillers like I Saw the Devil, then this movie should suit you perfectly.” The Horror Club

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“Overall, though, something about Killers rings hollow. In its ambitious attempt to tell two parallel stories which ultimately converge, it feels a little long-winded and overblown for my liking, hinging on some plot contrivances and lapses into arch melodrama which I feel somewhat undermine earlier efforts to craft a sophisticated narrative.” Brutal as Hell 

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Wikipedia | IMDb


Fall Down Dead (2007)

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‘Seven strangers. Trapped. Hunted. Carved.’

Fall Down Dead is a 2007 horror/slasher film directed by Jon Keeyes (American Nightmare; Hallow’s End; Nightmare Box) from a screenplay by Roy Sallows. It stars Dominique Swain (Dead MaryNazis at the Center of the EarthSharkansas Women’s Prison MassacreUdo Kier (Flesh for FrankensteinExposé; Blade) and David Carradine (Death Race 2000; Q: The Winged Serpent; Evil Toons), Mehmet Günsür.

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The population of a metropolitan city are gripped by fear after rolling blackouts bring out a serial killer dubbed “The Picasso Killer”. One night, in the middle of a blackout, seven strangers trapped in an office building are targeted by the killer as he seeks out the one that knows his true identity…

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Reviews:

There are literally hundreds of slasher movies available, and probably around half as many serial killer films. Fall Down Dead (which sounds like the title of a DTV Seagal flick, no?) may not be the worst of either genre, but it’s certainly one of the most criminally botched. When you have interesting performers and a fairly unique concept, there is no excuse for a movie to be this lackluster. Horror Movie a Day

All in all though, Fall Down Dead isn’t a bad movie at all. The gore is plentiful without being over the top. The killer is maniacal without being Jack Nicholson whacko. All the characters are believable, though the killer, in traditional slasher fashion, has an uncanny knack for being everywhere at all times… This movie is worth viewing. Bruce Kooken, HorrorNews.net

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… a low-budget slasher flick that’s pretty much everything you’d expect from a low-budget, straight-to-DVD slasher film. It’s a review that I’m sure you’ve read a dozen times by now. There’d be that paragraph where I talk about the derivative plot that rips off better films like Silence of the Lambs and Identity, the paragraph about the painful pacing problems that plague the film, the one about the amateur-level acting and the pathetic cash grab of casting washed-up genre actors (Udo Kier and David Carradine if you’re curious) and then the conclusion where I question why this film exists and tell you stay clear and bemoan the stupid twist ending. Angelo, Bloody Good Horror

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Buy Fall Down Dead on Blu-ray from Amazon.co.uk

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Choice dialogue:

“I shall cut off your tongue and use it to dab your blood on the canvas.”

Wikipedia

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M

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M is a 1931 German drama-thriller film directed by Fritz Lang (Metropolis, The Testament of Dr. Mabuse) and starring Peter Lorre (The Beast with Five Fingers; The RavenTales of Terror). It was written by Lang and his wife Thea von Harbou and was the director’s first sound film. The plot shows one of cinema’s first serial-killer hunts and was a shift in horror from monsters to real-life horrors.

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In early 30’s Berlin, despite a serial killer being on the loose, families are trying to carry on with their lives as normal. We see a six year-old girl named Elsie Beckmann playing with a ball alone on a street having left her friends. She is approached by a relatively nondescript man, Hans Beckert (Peter Lorre), whistling as he walks, who buys her a balloon from a blind peddler. This innocent act is soon to be revealed as something far more sinister as, although the crime goes unseen, her empty place at the dinner table and abandoned toys suggest at the horror which has been committed.

Beckert, in common with several real-life murderers, taunts the Berliners by boasting details of his crimes, which are printed in the local newspapers. The police, with no leads to go on, comb over every possible detail looking for clues but despite using the very latest techniques, including fingerprint analysis, they struggle to make a breakthrough. Under the leadership of Inspector Karl Lohmann (Otto Wernicke; The Testament of Dr. Mabuse), his forces forensically check every detail they have and scour their archives for potential suspects, whilst the troops on the ground raid countless criminal gangs in a fruitless attempt to catch the killer.

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The criminal fraternity are equally appalled at the crimes but, at the same time, object to their nefarious activities being regularly interrupted. As such, they gather themselves together and throw allegiances out of the window to seek out the serial killer themselves, led by the notorious, Der Schränker (“The Safecracker”, played by Gustaf Gründgens; Faust). Despite their reputations, they ensure the safety of the city’s youth by employing the many beggars to keep watch on every street corner.

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The police finally make a breakthrough and lie in wait at his rented accommodation. Meanwhile, the unaware killer stalks another young victim but is thwarted by an attentive mother. His distinctive whistle is recognised by the blind beggar we met earlier, who quickly informs members of the underworld as to his fears. Beckert is trailed by the informant, who ensures the suspect doesn’t get lost in the crowd by pretending to bump into him, giving him the opportunity to transfer a large letter “M” from his palm to the back of his coat.

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Initially unaware, the symbol alerts other members of the criminal vigilantes who begin to appear en masse. Realising he is being trailed, Beckert flees into a large office building but it isn’t long before he is trapped and ‘arrested’, not by the police but by the criminals. A court is hastily assembled in an abandoned distillery, from judge (a murderer himself) to defence. It isn’t long before Beckert is found guilty, his pleas that he is unable to control his urges falling on deaf ears. It now becomes a game of morals and justice as a three-way tug-of-war decides whether Beckert can make his pleas heard by the courts of the land rather than the trial by The People.

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Fritz Lang, known for his close attention to detail, soaked up numerous accounts of real-life serial killers (comparisons are regularly drawn with Peter Kürten, the so-called \Vampire of Düsseldorf’) to ensure his depiction was not only chilling but unnervingly believable. His intention was not only to cast some light on what would motivate a child-killer to commit such heinous acts but also to examine the roles of parents, society and the perpetual question as to the validity of capital punishment.

Contrarily, though M is Lang’s first film utilising sound, the film is almost entirely devoid of a soundtrack as such, the only ‘music’ of any real significance being the tune whistled by the killer, “In the Hall of the Mountain King” from Edvard Grieg’s Peer Gynt Suite No. 1. This is one of the very earliest uses of a musical device known as a ‘leitmotif’ – a short melody which denotes a particular character or action. In this instance, any time we here the piece, even if Beckert isn’t on-screen, we know he is nearby. The film regularly omits diegetic street sound, putting even more focus on the theme of sight and sound and how closely we actually pay attention to what is going on around us. In actual fact, Lorre couldn’t whistle and the musical theme comes from the lips of Lang’s wife.

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Originally titled, Mörder unter uns (“Murderer Among Us”) the film immediately courted controversy, even before release, raising the heckles of both German studios and the Nazi Party. Other early titles for the film included Eine Stadt sucht einen Mörder (A City searches for a Murderer) and Dein Mörder sieht Dich An (Your Killer Looks At You). Interestingly, despite the role of the murderer being so pivotal to the film, the strength and motivations of many of the characters shine through, achieving the aims of the director for the film to be a social commentary on all members of society, not just the most obvious.

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This was Lorre’s first major role and one he was essentially able to play twice, both in his native tongue and in English when the film was re-shot. Despite his previous roles largely being in comedy, M led to Lorre being cast as a villain for many years after. In fact, none of the crimes are ever shown on-screen, though rather like many of the most important works of cinema, you would swear you see more than is actually presented. Beckert’s internal turmoil may be very real to him but we are left with no doubt as to his crimes or the threat he poses.

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It wasn’t until the 1990’s that the existence of foreign language versions of the film (English and French) were uncovered; the sets and plot the same but the language and even several scenes, quite different. The various versions run to anything from 105 minutes to 117. Even then, a missing scene remains undiscovered, approximately 7 extra minutes, further examining the bizarre practice of murderers almost giving themselves up in an attempt to publicly proclaim their crimes and the inefficiencies of the police force.

M remains a deeply unsettling and challenging film and which, alas, deals with themes and events which are still very present with us today. It regularly appears in the loftier areas of critics’ favourite films, one of the few to transcend language to feature in both general and world lists.
Daz Lawrence

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Toe Cutter – Thumb Buster by Thee Oh Sees – song and music video

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‘Toe Cutter – Thumb Buster’ is a 2013 song by San Francisco-based indie rock band Thee Oh Sees. It was the second single taken from their album Floating Coffin.

The violent and disconcerting music video for ‘Toe Cutter – Thumb Buster’ was directed by John Strong, who previously directed the video for the band’s “Lupine Dominus”. The video depicts a killer dragging a body to his car in a seemingly empty car park, only to be disturbed by a horrified witness…

Buy Floating Coffin from Amazon.co.ukAmazon.com

 


The Unsubtle Art of Body Snatching – article

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Body snatching is the secret disinterment of corpses from graveyards. A common purpose of body snatching, especially in the 19th century, was to sell the corpses for dissection or anatomy lectures in medical schools. Those who practiced body snatching were often called “resurrectionists” or “resurrection-men”. A related, slightly less ghoulish act is grave robbery, the uncovering of a tomb or crypt to steal artefacts or personal effects rather than corpses.

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The 19th century saw renewed attention given to medicine and science, the advancements in surgery and treatment being significant and ushering forth a new breed of talented doctors and surgeons. Previously oft-practiced but now clearly baffling treatments were being abandoned in preference to techniques which were more scientific than superstitious, though this meant ripping up many textbooks from the past and gaining a new understanding of how the human body worked and reacted to both drugs and disease. This, however, came with many challenges.

Before the Anatomy Act of 1832, the only legal supply of corpses for anatomical purposes in Britain were those condemned to death and dissection by the courts. Those who were sentenced to dissection by the courts were often guilty of comparatively harsher crimes. Such sentences did not provide enough subjects for the medical schools and private anatomical schools (which did not require a license before 1832). During the 18th century hundreds had been executed for trivial crimes, but by the 19th century only about 55 people were being sentenced to capital punishment each year. With the expansion of the medical schools, however, as many as 500 cadavers were needed annually.

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This created something of a moral dilemma for the authorities – clearly they couldn’t be seen to be complicit in the disinterment of the dead, or the ransacking of graves on sacred ground, but neither could they reconcile themselves with holding up the progress of medical breakthroughs and therefore the curing and treatment of the sick at the expense of only a few. The solution was a sort of compromise – although the tampering with graves was officially still frowned upon, the punishment was relatively slight, a misdemeanor rather than a felony, a potential fine and a stint behind bars rather than the, perhaps expected, execution.

With these relatively lax attitudes, families of the recently deceased had little option but to take it upon themselves to keep watch of their yet to be interred loved ones, for fear of them ‘going missing’ before they were even buried. Should they at least find their way underground, elaborate devices were employed to ensure the dead were not taken by the agents of needy doctors. Lead-weighted and iron coffins were sometimes chosen to make an attempted body snatching too time-consuming. Rich families were able to protect family member’s graves by employing large marble slabs and headstones, sometimes even locked mausolea which would prevent easy access.

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For the less well-off, it was necessary for the community as a whole to find ways to keep their graveyards free of trespassers. Watchtowers were employed in some areas, particularly Scotland, where teams of ‘watchers’ were also employed – in one instance, a 2000-strong collective was assembled.

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Anti-bodysnatching grille in Ballyphehane, Ireland

The early adoption of iron cages around graves soon developed into a more structured design, known as ‘the mortsafe’, first appearing in 1816. These were iron or iron-and-stone devices of great weight, in many different designs.

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Often they were complex heavy iron contraptions of rods and plates, padlocked together – examples have been found close to all Scottish medical schools. A plate was placed over the coffin and rods with heads were pushed through holes in it. These rods were kept in place by locking a second plate over the first to form extremely heavy protection. It would be removed by two people with keys. They were placed over the coffins for about six weeks, then removed for further use when the body inside was sufficiently decayed. There is a model of a mortsafe of this type in Marischal Museum, Aberdeen. Sometimes a church bought them and hired them out. Societies were also formed to purchase them and control their use, with annual membership fees, and charges made to non-members.

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London Burkers, a group of resurrectionists, comprising of John Bishop, Thomas Williams, Michael Shields, a Covent Garden porter, and James May, an unemployed butcher, also known as Jack Stirabout and Black Eyed Jack, who stole freshly buried bodies to sell to anatomists. In his subsequent confession, Bishop admitted to stealing (and selling) between 500 and 1000 bodies, over a period of twelve years. The corpses were sold to anatomists, including surgeons from St Bartholomew’s Hospital, St Thomas’ Hospital and King’s College. The Fortune of War Public House, in Smithfield, was identified as a popular resort for resurrectionists.

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There were various methods used by determined body snatchers; one method used was to dig at the head end of a recent burial, using a wooden spade – quieter than those made of metal. When they reached the coffin (in London the graves were quite shallow), they broke open the coffin, put a rope around the corpse and dragged it out. They were often careful not to steal anything such as jewellery or clothes as this would cause them to be liable to a felony charge.

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The Lancet reported another method. A manhole-sized square of turf was removed 15 to 20 feet (5 to 6 metres) away from the head of the grave, and a tunnel dug to intercept the coffin, which would be about 4 feet (1.2 m) down. The end of the coffin would be pulled off, and the corpse pulled up through the tunnel. The turf was then replaced, and any relatives watching the graves would not notice the small, remote disturbance. The article suggests that the number of empty coffins that have been discovered “proves beyond a doubt that at this time body snatching was frequent”.

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These events led to the more wide-spread introduction of vaults being used as resting places for the dead. The introduction of the Anatomy Act in 1832 was ultimately the answer to the practise of stealing corpses for profit, the ‘industry’ now being controlled by the Human Tissue Authority. However, this was not the end of people digging up rotting bodies for other reasons, as we will see later.

In the United States, body snatchers generally worked in small groups, which scouted and pillaged fresh graves. Fresh graves were generally given preference since the earth had not yet settled, thus making digging easier work. The removed earth was often shovelled onto canvas laid by the grave, so the nearby grounds were undisturbed. Digging commenced at the head of the grave, clear to the coffin. The remaining earth on the coffin provided a counterweight which snapped the partially covered coffin lid (which was covered in sacking to muffle noise) as crowbars or hooks pulled the lid free at the head of the coffin. Usually, the body would be disrobed, the garments thrown back into the coffin before the earth was put back into place.

Resurrectionists have also been known to hire women to act the part of grieving relatives and to claim the bodies of dead at poorhouses. Women were also hired to attend funerals as grieving mourners; their purpose was to ascertain any hardships the body snatchers may later encounter during the disinterment. Bribed servants would sometimes offer body snatchers access to their dead master or mistress lying in state; the removed body would be replaced with weights. Although medical research and education lagged in the United States compared to medical colleges’ European counterparts, the interest in anatomical dissection grew in the United States. Philadelphia, Baltimore, New York were renowned for body snatching activity: all locales provided plenty of cadavers. So in demand were corpses in some districts and so demanding were those wishing to utilise them that spies were sent to funerals to gauge sex, age, condition and means of death to determine desirability and cost.

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Public graveyards were not only sanctioned by social and economic standing, but also by race. New York was 15% black in the 1780s. “Bayley’s dissecting tables, as well as those of Columbia College” often took bodies from the segregated section of Potter’s field, the Negroes Burying Ground. Free blacks as well as slaves were buried there. In February 1787, a group of free blacks petitioned the city’s common council about the medical students, who “under cover of night…dig up the bodies of the deceased, friends and relatives of the petitioners, carry them away without respect to age or sex, mangle their flesh out of wanton curiosity and then expose it to beasts and birds.”

In December 1882, it was discovered that six bodies had been disinterred from Lebanon Cemetery and were en-route to Jefferson Medical College for dissection. Philadelphia’s African-Americans were outraged, and a crowd assembled at the city morgue where the discovered bodies were sent. Reportedly, one of the crowd urged the group to swear that they would seek revenge for those who participated in desecration of the graves; another man screamed when he discovered the body of his 29-year-old brother. The Philadelphia Press broke the story when a teary, elderly woman identified her husband’s body, whose burial she had afforded only by begging for the $22 at the wharves where he had been employed. Physician William S. Forbes was indicted, and the case led to passage of various Anatomical Acts.

After the public hanging of 39 Dakota warriors in the aftermath of the Dakota War of 1862, a group of doctors removed the bodies under cover of darkness from their riverside grave and divided the corpses among themselves. Doctor William Worrall Mayo received the body of a warrior called “Cut Nose” and dissected it in the presence of other doctors. He then cleaned and articulated the skeleton and kept the bones in an iron kettle in his office. His sons received their first lessons in osteology from this skeleton.

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Although some states took matter into their own hands, such as Massachusetts’ Anatomy Act of 1831, on a more local level, people used methods similar to those in Britain to ensure their loved one’s grave remained untouched. Police were engaged to watch the burying grounds but were often bribed or made drunk. Spring guns were set in the coffins, and poorer families would leave items like a stone, flowers or a blade of grass or a shell to show whether the grave was tampered with or not. Particularly popular around the Pennsylvania area were devices known as “cemetery guns”, wood and steel contraptions operated via trip wires arranged around the grave. Even more devastating were ‘coffin torpedoes’, a device invented in 1881 by a former judge, Thomas Howell, which detonated if the resting place of the deceased was tampered with. The aim of such arms were not necessarily to kill (though they frequently did) so much as to deter any future trespassers. In his collection of Boston police force details, Edward Savage made notes of a reward offer on April 13, 1814: “The selectmen offer $100 reward for arrest of grave-robbers at South Burying-Ground”.

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Iron fences were constructed around many burying grounds as well as a deterrent to body snatchers. “Burglar proof grave vaults made of steel” were sold with the promise that loved ones’ remains would not be one of the 40,000 bodies “mutilated every year on dissecting tables in medical colleges in the United States.” The medical appropriation of bodies aroused much popular resentment. Between 1765 and 1884, there were at least 25 documented crowd actions against American medical schools.

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Naturally, bodysnatching was not confined to Britain and America. Instances occurred in China as recently as 2006 with a resurgence in the ancient practice of ghost marriages (the bizarre ceremony of two deceased persons being wed) in the northern coal-mining regions of Shanxi, Hebei and Shandong. Although the practice has long been abandoned in modern China, some superstitious families in isolated rural areas still pay very high prices for the procurement of female corpses for deceased unmarried male relatives. It is speculated that the very high death toll among young male miners in these areas has led more and more entrepreneurial body snatchers to steal female cadavers from graves and then resell them through the black market to families of the deceased. In 2007, a previously convicted grave robber, Song Tiantang, was arrested by Chinese authorities for murdering six women and selling their bodies as “ghost brides”

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Body snatchers in France were called “Les Corbeaux” (the crows), whilst in the Netherlands, poorhouses were accustomed to receiving a small fee from undertakers who paid a fine for ignoring burial laws and resold the bodies, especially those with no family, to doctors.

Contemporary bodysnatching is understandably rare though not unknown; even the famous aren’t immune from post-life escapades; in Cyprus, the former President Tassos Papadopoulos’s body was stolen from his grave on 11 December 2009 and in the following year, the famous broadcaster Alistair Cooke’s bones were removed in New York City and replaced with PVC pipe before his cremation.

A forensics team cordons off a grave where the body of former Cypriot President Tassos Papadopoulos was located in Nicosia

In South America, there are accounts of graves being disturbed in order for body parts to be used in religious rites and ceremonies. Even Charlie Chaplin’s corpse was briefly stolen, in a bid to gain a large ransom. Some disturbed grave plots and empty coffins gave rise to rumours of vampires and other supernatural occurrences.

Finally, there is one other reason for corpses to be taken – for companionship and even sex. Necrophilia – derived from the Greek words: νεκρός (nekros; “dead”) and φιλία (philia; “love”) – is thankfully rare at the best of times and even then tends not to focus on bodies which have made it as far as the graveyard. Yet, the practice can be traced as far back as Ancient Egypt – Herodotus writing in The Histories that, to discourage sexual intercourse with a corpse, ancient Egyptians left deceased beautiful women to decay for “three or four days” before giving them to the embalmers.

Recorded examples of sexual activity with corpses obtained from graveyards include:

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Victor Ardisson

• Victor Ardisson, also known as the “Vampire of Muy,” exploited his position as an undertaker and gravedigger in late 19th century France, by violating many bodies, especially those of young women, and mutilating and decapitating them in some cases. According to his confession, Ardisson regularly spoke to the corpses which he had retrieved, feeling genuine shock and hurt when they would not respond. Ardisson was examined by Dr. Alexis Epaulard, one of the first psychiatrists to associate necrophilia and vampirism. Epaulard diagnosed Ardisson as a “degenerate impulsive sadist and necrophile.”

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Ed Gein

 

• American serial killer and body-snatcher Ed Gein is known to have used disinterred corpses for sexual gratification, as well as, of course, home furnishings.

Daz Lawrence, Horrorpedia

 

 

 

 

 

 

Works more generally related to bodysnatching include:

• H. P. Lovecraft’s works referring to body snatchers include his tales, The Case of Charles Dexter Ward and Herbert West – Reanimator.

• James McGee’s Resurrectionist centres on his main protagonist, James Hawkwood, in hunt of a group of resurrectionists who illegally smuggle bodies for medical school. Central to the theme of the novel, McGee explores the world of the resurrectionists and their doings.

• In Jonathan L. Howards novel Johannes Cabal the Necromancer, the eponymous protagonist practices body snatching.

• In Charles Dickens’s novel, A Tale of Two Cities, Jerry Cruncher works as a “resurrection man” in addition to his work as a porter and messenger at Tellson’s Bank.

• In the film Corridors of Blood, Christopher Lee plays a character called “Resurrection Joe”.

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• Henry Frankenstein’s experiments in bringing life to the deceased rely heavily on the thankless work of Fritz and in later entries into the saga, Karl and Ygor.

• In Mel Brooks’ film Young Frankenstein, Fredrick Frankenstein and Igor dig up a body to attempt to bring it back to life.

The Texas Chain Saw Massacre (1974) infamously opens would an image of an ‘art installation’ at a graveyard that has been constructed from body-parts of interred residents.

Avoid Meeting a Body Snatcher! is a 2009 ‘Danger Zone’ children’s book by Fiona Macdonald.

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Daz Lawrence

http://www.theguardian.com/world/2006/apr/02/usa.features

 


Friday the 13th Part VII: The New Blood

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Friday the 13th Part VII: The New Blood is a 1988 slasher horror film directed by John Carl Buechler (Troll; Cellar Dweller; Ghoulies III) from a screenplay by Manuel Fidello and Daryl Haney.

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It is the seventh instalment in the original Friday the 13th series and the start of the Kane Hodder era in which he repeated the role of Jason Vorhees three more times. The other leads are Lar Park LincolnKevin BlairSusan BluTerry Kiser (The Offspring).

Plot teaser:

Shortly after the events of the previous film, seven-year old Tina Sheppard witnesses her father abusing her mother, and runs out onto the lake in a boat. When her father tries to retrieve and apologise to her, Tina’s latent telekinetic powers awaken and she accidentally collapses the dock on him, causing him to drown.

Ten years later, Tina and her mother return to the lake at the request of her doctor Dr. Crews in order to face her fear and trauma over the death of her father. Crews tries to incite Tina to use her telekinetic powers through constant persuasion and manipulation, though under the guise of psychiatric care, he plans to exploit Tina’s gifts. After a particularly disturbing confrontation, Tina runs out to the docks and believes she senses her father’s presence in the lake. She uses her powers to resurrect him, but instead accidentally frees Jason Voorhees from his imprisonment…

Reviews:

The New Blood certainly moves briskly from one violent set piece to the next; as a result of Buechler’s emphasis on narrative momentum, however, the underlying themes, such as they are, never have an opportunity to breathe. With the victims made even more generic than usual this time around, the result is more or less the kind of slasher film the series’s many detractors accuse films in the genre of being as a whole: an empty-headed slaughterfest, with a bit of negligible human interest to offset the nihilism.’ Kenji Fujishima, Slant Magazine

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‘Although the role of Jason isn’t exactly Shakespeare, Hodder turns in a great performance as the hulking, heavy breathing zombie killer.John Carl Buechler’s special effects are great, even though they were heavily edited by the MPAA. Hodder and the special effects are the main reasons to watch the film, since the rest of the cast sleepwalk through their parts and the dialogue is frighteningly dumb.’ Jim Harper, Legacy of Blood: A Comprehensive Guide to Slasher Movies

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‘The makeup design this time around is absolutely stunning, and shows an attention to detail that has hitherto been completely absent from any aspect of the Friday the 13th series. Jason really does look like he’s spent a good ten years rotting at the bottom of a lake. His clothes are little more than soggy rags, his skin is greenish and slimed with putrescence, and his bones are visible wherever they lie close to the surface— his ribs, spine, kneecaps, and shoulder blades. It’s when his mask comes off during the final clash between him and Tina that the makeup team’s workmanship really comes to the fore, though.’ 1000 Misspent Hours and Counting

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Buy Friday the 13th: The Complete Collection on Blu-ray from Amazon.co.ukAmazon.com

Censorship:

Several explicit scenes of gore were cut in order to avoid an X rating, including: Maddy’s death, who originally had a sickle jammed through her neck; Ben’s death, which showed Jason crushing his head into a bloody pulp; Kate’s death, which showed Jason ramming her in the eye with a party horn; the original VHS and DVD versions only show a full view of Jason as he aims towards her face, but quickly cuts to another scene before revealing the blood and gore gushing from her eye; we see Eddie’s head hit the floor; a shot of Russell’s face splitting open with a large blood spurt; Dan’s original death had Jason ripping out his guts; Amanda Shepard’s death originally showed Jason stabbing her from behind, with the resulting blade going through her chest and subsequent blood hitting Dr. Crews;

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Dr. Crews’s death showed Jason’s tree-trimming saw violently cutting into his stomach, sending a fountain of blood and guts in the air; Melissa’s original death had Jason cleaving her head in half with an axe with a close-up of her eyes still wriggling in their sockets. The boxed set DVD release of all of the films and the single deluxe edition have all these scenes available as deleted scenes in rough work print footage, however the deluxe edition features more additional footage than the boxed set.

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Buy Deluxe Edition DVD from Amazon.com

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Ghanian hand drawn poster

 

Cast:

Body Count:

Documentary:

Wikipedia | IMDb


Crazy Bitches

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Crazy Bitches is an American 2014 comedy horror film written and directed by Jane Clark.

The film stars Samantha Colburn, Cathy DeBuono, Andy Gala, Liz McGeever, Victoria Profeta, Guinevere Turner, Nayo Wallace, Mary Jane Wells, Blake Berris, Candis Cayne, David Fumero, Riley Berris, Eddie Daniels.

Plot teaser:

Seven girls and one gay guy plan a getaway to a remote ranch for a week of gossip and grub. They start off where they always do, old rivalries in place, extreme vanity covering great insecurities, but with a true love for each other underneath the bickering, sniping and sassing.

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A number of drinks into night one and a dark secret is revealed. The house they rented is the site of a mass murder of teenage girls fifteen years earlier. Blood still stains the floors under replacement carpets. The killer still runs free.

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The girls take it for what it seems – a fun story for a rainy night by a roaring fire. But after one of them disappears and is discovered dead, the story doesn’t seem so fun anymore. One by one, they die, killed by their own vanity…

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Filming locations:

Great Spirits Ranch, Malibu, California

IMDb | Official site | Facebook

Posted by WH


The Demon (1981)

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‘The screams you hear may be your own!’

The Demon – also known as Midnight Caller - is a 1979 South African slasher film co-produced, written and directed by Percival Rubens (Survival Zone; Sweet Murder). It stars Cameron MitchellJennifer Holmes (Raw Force), Craig Gardner and Zoli Marki.

The Demon was released direct to video in the USA on March 1st 1981 by Thorn EMI. On April 28, 1983, the film made its US television debut through Gold Key Entertainment. It was released in the USA by S.J. Interntational Pictures in 1985 under the title Midnight Caller. The film has since become public domain, and has been released on DVD several times.

Plot teaser:

Fourteen year-old Emily Parker (Ashleigh Sendin) is kidnapped from her rural home and murdered by a faceless, heavy-breathing maniac. Later, the maniac hitchhikes to the city with a gregarious truck driver (John Parsonson). The maniac kills the truck driver, steals his cash, and takes up residence at a hotel in Johannesburg’s Doornfontein neighborhood.

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Two months later, Emily’s parents — frustrated by the failure of law enforcement officials to either locate Emily — enlist in the help of Bill Carson (Cameron Mitchell), a retired Colonel in the U.S. Marines who now works as a freelance psychic detective. Joan Parker (Moira Winslow), the distraught mother, needs to know whether Emily is alive or dead — but the angry Mr. Parker (Peter J. Elliot) is preoccupied with bloody revenge, and aggressively implores Col. Carson to find the man responsible. Carson gravely intones that the entity they seek is “an aberration of the species. Something hallucinating evil” — and warns the Parkers that it would be best if they didn’t find him!

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Meanwhile — for reasons left unclear — the maniac decides to fixate on a young, American pre-school teacher named Mary Jones (Jennifer Holmes), who shares a bungalow in Johannesburg’s Saxonwold neighborhood with her 18 year-old cousin, Jo (Zoli Marki). Mary first sees the elusive maniac lurking outside her classroom — disappearing and re-appearing in the fog — and later, spying on her at the mall.

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When not stalking Mary, the maniac holes up in his hotel room — doing push-ups, growling, and tearing up girly magazines. He also prowls Johannesburg’s Hillbrow district at night, attacking various women…

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Buy The Demon on DVD from Amazon.com

Reviews:

‘There’s minimal gore due the fact that the nutjob’s method of murder is to put a bag over the head of each victim and asphyxiate them. We can’t escape the scriptwriting shipwreck of the character development parts, which are snooze-inducing, and they seem to have let Cameron Mitchell98767677879898 loose on the quaaludes before he turned up on set. Does this make The Demon a total waste of space? Well funnily enough, no. We may be somewhere off Halloween with what we have here, but there’s enough in the extremely cute actress, remorseless assailant and idea that a place in the world exists called Boobs Disco to have kept me engaged.’ Luisito Joaquín González, A Slash Above…

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‘ …The Demon seems like two movies with different plot lines spliced together. In any case, the film was clearly influenced by Halloween with its ambiguous killer whose face is hidden and who wears a brown leather jacket and gloves with razors on them. There’s at least one unexpected development in the movie, but most of it is over-familiar. That’s too bad, because The Demon isn’t badly directed and has some good scenes, although the ending is a mite dragged out.’ Great Old Movies

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‘There is absolutely no plot structure in this film. There is no explanation about the demon, who he is, what he does, and why he does it. He just terrorizes a town and kills people that cross his path. The Parkers are a poorly structured family and things are just cut off to the point that there is no explanation whatsoever, especially the way it ends.’ Caponomics

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Cast:

  • Cameron Mitchell as Col. Bill Carson
  • Jennifer Holmes as Mary Jones
  • Craig Gardner as Dean Turner
  • Zoli Marki as Jo
  • Peter J. Elliot as Mr. Parker
  • Moira Winsow as Joan Parker
  • Mark Tanous as Bobby
  • George Korelin as Dr. Stuart
  • Vera Blacker as Mrs. Stuart
  • John Parsonson as The Truck Driver

Wikipedia | IMDb

 


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