The Lost Highway's B-movie Reviews and Cult Films
Sep

Comments Off on Sonno Profondo (aka Deep Sleep)

Sonno Profondo
“You wish you’d never woken up.”

2013 – Not Rated – 67 Minutes – Brink Vision
Starring Luciano Onetti, Daiana Garcia, Silvia Duhalde – Directed by Luciano Onetti

There seems to be a small resurgence of the giallo films lately, which in my book is a good thing. In between the dozens of found footage and superhero movies, it’s always nice to see something a little different. This is where Sonno Profondo comes in. When I heard about this flick and saw the trailer, I was pretty excited. I needed to get my hands on this movie and let me tell you… it was quite the experience. It wasn’t what I expected or at the time may not have seemed to be what I wanted and I mean that in the best way possible. I won’t go too much into detail in this review, because any little detail could ruin the fun or surprise the film has to offer, so let me see if I can tell you enough to get you interested.

sp_2The sights and sounds are quite an experience right from the start. An almost rustic, hyper piano/jazz mix gets you on your toes, which is fitting for all the oversaturated colors, as we see from a killer’s point of view (and of course he is wearing black leather gloves), obsessing over some photos of a woman that he is readying to kill and we are shortly introduced to through a rather erotic masturbation scene. It wouldn’t be a giallo without some erotic sex appeal. At least she’s going out with a bang as she is brutally murdered. Shortly after her butchering, the killer receives an anonymous phone call… seems someone knows what he did and the person on the other line is threatening to kill them! A killer that is going to kill the killer… you don’t see that too often and it does offer a good cat and mouse chase later at a hospital once the killer in the black leather gloves receives some photos of his crime and a key to a locker at said hospital. What secrets does this locker hold or is it merely a decoy? We soon find out once another gloved killer, this time with vinyl medical gloves, appears and attempts to murder the… murderer.

After barely escaping, the black gloved killer mixes a mean cocktail of blood, whiskey and morphine pills as an attempt to commit suicide? Maybe? I dunno. Shortly, flashbacks play out, revealing the connections between the victim, the killer and the other killer and the childhood drama that plagues them. You’ll keep guessing to that rocking soundtrack until their is resolution.

sp_3Very, very rarely does the flick switch outside of one of the killer’s POV, nor are the killers seen without gloves on. I would say this is a parody, but it’s not played that way and it works in favor of the narrative. At first I thought it was silly, even laughed to myself that we never switched out of their POV or saw them without gloves, but as the movie went on, I couldn’t imagine it working without doing that. I can’t stress enough how important all the visuals are in the movie, between the lighting, the oversaturated colors and so on.

Normally, I’m not one for all the fake dirt and scratches film look that seems to present on every low budget film since Grindhouse came out in 2007, but it not only works here, it also feels like it’s absolutely necessary to the look of the film and the look is very important to a giallo. Everything here is presented in oversaturated, bright and vibrant colors, intentionally giving the film a larger, louder than life quality, almost a comic book like quality, as greens, yellows and reds pop right off the screen. Every element in the movie, colors, lighting, the score (by the way, one of the best soundtracks I’ve heard in a film), everything is important and absolutely crucial to the overall picture. If one of these things were done wrong, I don’t think the film would have worked. I feel like I am going in circles here, but Sonno Profondo is a true treat to see and hear. Everything mixes together so perfectly.

sp_4Of course, in true giallo form, there is some weird imagery and creepy dolls hanging about (that for some reason are full of blood). Come to think of it, the whole look of the film is very 70’s, from the furniture, the types of telephones they use, house decours, wallpaper and cars they drive. I’m no expert, but I would go out on a limb to say that this is about as authentic as it can get, which is impressive considering this is a low budget, indie film. Or maybe Italy still looks like the 1970’s.

However, this is the kind of film your average movie goer isn’t going to enjoy. I would normally say a short runtime that barely runs over an hour could hurt a film, but Sonno Profondo tells its story in this time and doesn’t overstay its welcome. There isn’t much in the way of a narrative and I could see how some would find that the majority of the film is from POV (like the recent remake of Maniac), it may turn off some. It’s not loaded with nudity or gore, but this film wasn’t made for them. Hell, it may not have even been made for giallo fans, but you can say for sure it was made for director Luciano Onetti himself and I think that’s what a filmmaker should set out to do: Make the film YOU would want to see.

Sonno Profondo isn’t a spoof or an homage to the giallo genre… it is a giallo film. Well, you could consider it an homage, but I would go one step further. It’s not just the look or the tone that make it a giallo film, it’s the story (or maybe a lack of) and how the whole thing is shrouded in a mystery that will leave you guessing literally until the last minute and when everything is tied up at the end and revealed and doing so without hardly any dialogue, there is a great feeling, genuine joy, from solving the mystery and excitement to see everything come full circle.

Sonno Profondo
Perhaps I’m leaving out a lot of plot or not saying enough, but believe me when I say that Sonno Profondo is something that you must see to experience. It will all make sense and you may enjoy this little throwback to the great Italian murder mysteries.

Check out this review and plenty others at Goon Reviews.

roadside attractions

  • Mom always said masturbation will kill ya.
  • Whose eyes are we looking through?
  • To kill a killer.
  • Morphine cocktail.
  • Raising kids can be hard.
totals

4

blood

BLOOD

Slashes, gashes and stabs spurting some thick, bright red blood.

4

blood

BREASTS

No nudity, but the film throws in some erotic sex appeal.

8

beast

BEASTS

Everyone in this film is a killer or a victim.

5.3 OVERALL
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Sep

Comments Off on Army of Darkness

It’s 1991, director Sam Raimi now has the approval for a third movie in The Evil Dead series. So how does he capitalize on the cult success of the previous two films? Change the name to Army of Darkness and make it a horror-comedy. Because that’s worked out for so many franchises before it! See any of the Nightmare on Elm Street sequels, if you don’t know what I mean. Now does that mean it’s a bad movie? No, absolutely not. This movie brought a lot of folks into the fold of The Chin, Sam Raimi, and the fact that practical effects and good acting will always beat out CGI.
The movie starts out with Bruce Campbell as Ash narrating his current situation. There’s really no need for the narration, as it’s pretty apparent what’s going on. However, Bruce Campbell narrating anything is epic. We find out a little back story and why Ash is in the situation he’s in, flashback style, though the cuts and bruises he receives later in the movie are on his face. That’s why the right side of his face is filmed in this scene, to hide actual cuts and bruises sustained during filming. Just like the last movie, Evil Dead 2, we get a quick recap with some scenes redone to save on time. Ash is sucked into the vortex and now we begin our medieval escapade.
Through that awesome narration we now know that the movie takes place in 1200 AD and our hero has landed smack dab in the middle of not only a war, but a cursed land befouled by the evil that came from the book. Talk about bad luck. Some camera play and exposition, we come to the first real action of the movie: Ash versus the Pit Witch (and her bloated friend). Even up to this point, with lines such as “Well hello, Mister Fancypants!” to his fellow captor Henry the Red, who leads the other guys, this could still work as a horror movie. However, the next particular scene, is where we get the tone for the rest of the film.
If you never knew that the director was a fan of The Three Stooges, you will, now. Ash’s fight with the Pit Witch, while somewhat violent, is packed with goofy angles, over the top screams, and comedic timing. Escaping said pit Ash proceeds to establish himself as the alpha dog amongst these people, giving us one of his most quoted lines ever. “This is my…BOOMSTICK!” as well as some helpful information about what said boomstick is made of, where it’s made, and how much it retails for. Say it with me, kids, “Shop smart. Shop S-Mart! Ya got that?!?” Why do I keep involving children saying lines from horror movies in my reviews?
After Ash gets the only rest and relaxation he’s gotten in the last 72 hours interrupted by a deadite witch and the plot, we now get some classic Raimi montage footage. And let’s add in a ‘Groovy.’ for good measure. With the magic words ‘Klatu verata nictu’ (See The Day The Earth Stood Still) in hand Ash begins his quest for the book, and a stuntman that can pull of that chin. A chase scene and a really wide camera shot later we come to what might be either the most hilarious or most disturbing scenes the dream team has ever put to celluloid. And they filmed a woman biting her own hand off, mind you.
Our hero finds himself in familiar surroundings as he locks himself inside a windmill in the woods to hide from the evil chasing him. Because it worked so well the last time he barricaded himself in a wood shack in the woods with evil chasing him. However, I’m pretty sure if some looming force of darkness was on my heels making that howling sound I’d suddenly develop the ability to swim up a mountain side. A smashed mirror leads us to some Stooges type comedy and miniature cannibalism. Which results in an eyeball poking through the flesh on Ash’s shoulder, complete with a muffled voice to let us know it’s alive. Told you it was disturbing. But it doesn’t stop there, folks, oh no.
The thing begins to grow. First into another head, then into another person from the waist up, then into another person entirely. And here, about the half way mark of the movie, we have our antagonist. Seems the writing team figured they couldn’t have a movie with a hero and no villain. More disturbing imagery! Ash shoots then dismembers his evil twin, in one of the darkest Raimi montages, ever, and proceeds to bury the remains, and the doubt that we’ll never see that character again. After receiving a warning about the book he quests for, The Chin presses on.
Can’t have a medieval movie without a medieval graveyard filled with gothic, medieval tombstones. Ash finds the book, and a twist, to both lengthen the movie and torture Bruce Campbell with special effects makeup. Right before getting the book, however, Ash channels every person that’s ever had to remember something, ever. The humor in this scene is simple, and in that, hilarious. My favorite line being the final one when Ash decides a cough with an ‘N’ sound in front of it would suffice for ancient, evil magic. Again. Ash not so big in the brains department.
The equivalent of ‘Password not accepted’ turns the graveyard into a fireworks factory and awakens the dead, giving us another chance to witness another slapstick tribute to the stooges. We see Evil Ash resurrected, and soon afterwards, his army of the dead. Or darkness, you know, given the movie title and all. But all is not well when The Chin returns and delivers the news that he may have upset some folks back in the medieval graveyard. I couldn’t help one more ‘medieval’, sorry. Things happen! The love interest is taken away! Ash vows to stand and fight! Enter the final scenes!
The men of the castle send word to Henry the Red, the big brute earlier in the movie, that they need help. They also take part in a training montage, because reasons. Ash, being from the future and all, arms them with gunpowder. The formula which he found in a physics book which just happened to be in his trunk. For extra points try to find the issue of Fangoria. When all is said and done we enter what has to be some of the most epic battle scenes since Clash of the Titans. Or Jason and the Argonauts. Depends on your preference.
The army of the dead attack and go after the book! The men at the castle try to defend! Things aren’t going so well for our heroes, who seem to be dropping like flies. Now we see the Ashmobile! The classic that has been made over to be a steam powered (I’m guessing) contraption of death. The Chin meets up with former love interest now turned deadite, which he ends up tossing over the side of a wall like yesterday’s leftovers. And now, an exercise in duality. Evil Ash and Ash face off to fight for the book and the fate of all involved.
I will, once again, skip the ending because I don’t believe in spoilers. So let’s wrap up. This movie set a tone that Sam Raimi would reuse in other movies like Darkman and even further up like Spider-Man. It’s filled with flaws and production fails, try to count the air-rams badly hidden behind scenery, and some big plot holes. And where I’d usually pick apart a movie for them, this time I’m able to overlook them. Not because of fanboy-ism, okay, partly because of fanboy-ism, but mainly because the movie is just plain fun! Big sets, big action, big actor, and big one liners all add up for a horror comedy that is still just as fun today.

Thanks for reading, folks! Also check out the alternate ending and the extended windmill scene in various rereleases of the movie. So I have a question for all our loyal readers: Should I review the reboot of the series? Head to our Facebook or Twitter page to vote! Thanks again, folks. Stay tuned!

roadside attractions

  • The chin 3.0?
  • Hail to the King?
  • Wires and air-rams Galore
  • ?Ash’s Changing Hair Lengths
  • ?Xena’s war cry
  • ?Evil Ash Muppet
totals

4

blood

BLOOD

A lot of action, not a lot of gore.

3

blood

BREASTS

One full pair and a couple covered with hair. Not much to howl about.

10

beast

BEASTS

An entire army of the dead. Nuff said.

9.2 OVERALL
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Sep

posted by Blake | September 15, 2014 | 80's b-movies, 80's movies, B-movie Reviews, B-movies, Bad movie, Reviews by Blake

Comments Off on Surf Nazis Must Die

Recent soul-less reboots like Robocop and Total Recall have given me a very jaundiced eye towards the concept, so news that Mad Max is getting the Hollywood Reboot treatment fills me with fear and loathing even with the original director at the helm.  There is, however, one great post-apocalyptic film which I am sure will be forever safe from the grubby hands of studios  lacking originality: Peter George’s 1987 movie Surf Nazis Must Die, an abandoned child from the Troma family of fun.

The main plot centers around Murder and Revenge, while a subplot forms around a surf-gang leader’s desire for World Domination…or at least dominating the beaches of SoCal.  The majority of beach scenes were shot in Long Beach or Hamilton Beach, both being well-known SoCal surf meccas.

Interspersed throughout the film are six or seven different montages showing the Surf Nazis and other surf-gangs, well, surfing.  In the great tradition of horrid 60s surf films like Gidget and    How to Stuff a Wild Bikini, the film spends quite a bit of filler time showing fuzzy clips of anonymous, semi-pro surfers dressed in character’s costumes and shooting tubes.  Unlike the 60s drech, these dudes occasionally give the Nazi salute as they ride the nose and can be seen deliberately nudging other surfers off their boards—an act apparently more evil than theft and assault of beachgoers, judging by the reactions of those so treated.  Oddly, these montages were all shot on the north shore of Oahu rather than California.

The film is set “sometime in the near future,” when the California coastline has supposedly been devastated by the Big One, an earthquake that registered R8.0+ and caused at least 80,000 casualties while displacing most of the population.  In the aftermath of this disaster, the beaches south of Los Angeles have been overrun with anarchy, with police presence at zero and competing surf-gangs ruling the sands and victimizing citizens (think Beach Blanket Bingo meets A Clockwork Orange).  A note on the gangs: they definitely come from the Warriors school of cinematic gang-depiction, with their own themes, dorkey outfits, and names (Samurai Surfers, Pipeliners, Designer Waves, etc.; at least none of them are in baseball jerseys).  What makes them seem less like bangers and even more like “Pirate” extras from Danger Island is that they aren’t particularly evil or threatening; all of the gangs, including the eponymous Surf Nazis, spend most of their time either surfing, sleeping, drinking beer, or engaging in petty theft.  You would expect post-apocalyptic gangs modeling themselves on the Third Reich to be into some seriously evil stuff, but until the gang-war starts stealing cameras and threatening a pawn-shop owner are as nasty as they get.

Other than some footage taken in industrial storage yards and empty lots and some Before and After scenes of a burning building, there is little evidence of ruin; there is no real feel in the film that the characters are walking through a collapsed. There is no explanation for the complete absence of any law-enforcement or military personnel, or any type of civil infrastructure.  There are all manner of stores still open, including both surf- and pawn-shops, and for a chaotic war zone there seems to be quite a few elderly, middle-class suburbanites, pier-fisherman and other normal L.A. types wandering the beaches, complete with tourist cameras and 80s boomboxes.

One displaced family is Eleanor Washington and her son Leroy, whose home was destroyed outright.  Leroy moves Mama to a comfortable, if restrictive, retirement home and heads off to his work as a successful young oil industry worker (which we know because he wears a suit, a hardhat labeled “Chief,” and spends a good minute of film time wandering around a working pumpjack, looking confused).  Apparently, besides shops and retirement homes the Big One left the power grid and the LA-area oil industry intact, because between the pumpjack, a working offshore platform, and a functioning refinery used in the last scene, SoCal’s oil production still seems to be going strong.

In the main subplot one particular gang, the Surf Nazis, decides to try for world conqeust by either uniting or wiping out the rival gangs and securing the best surfing beaches for themselves; because, you know, like, taking over Hamilton Beach and its gnarly grinders is kinda like invading Poland and annexing the Sudetenland, right?  I mean, it’s just Tube City, dude, and Polski don’t surf.

The gang’s leader, “Adolf,” looks more like Freddie Mercury than the Fuhrer and is borderline batshit to boot.  He is supported and semi-dominated by Eva (played by 80s B-queen Dawn Wildsmith), who is as nutcase as Adolf but considerably more able, and backed by enforcers named Hook (guess what he has for a hand…), Brutus, and the intelligent but twisted Mengele, who is played by veteran B-actor, director, and punk musician Michael Sonye.  Numerous hangers-on include a pathetic, teenaged wannabe named Smeg and a gaggle of tweens who serve as an unorganized Hitlerjugend of petty thieves and pickpockets.

Adolf calls a conference between the gangs and manages to bully them into following his nominal lead.  They will pay some tribute to the Surf Nazis and respect the boundaries of each others’ beaches, allowing Adolf and his followers to focus their energies on victimizing the populace, drinking beer, and surfing.

One day, one of the little Hitlerjugend tries to snatch a purse from an elderly woman on the shoreline, only to be foiled by Leroy Washington out for a jog at the beach.  Adolf witnesses the event and decides to take revenge, ordering Hook to deal with him.  Hook emasculates Washington with his custom-edged hook, and the next scenes show Mama Washington ID’ing the body and making “arrangements,” then agonizing in a chapel about God’s Will.  Doing a little self-investigating at the shoreline, Mama overhears Smeg bragging about the killing to a couple of beach-bimbos; she pressures him into coughing up the identities and details of the Surf Nazis and, presumably, their rivalries with the other surf-gangs.

Having nothing left to lose, Big Mama vows revenge and initiates a “Final Solution” of her own.  She goes to a pawn-shop, telling the owner, “I wanna buy a gun…but I’m more interested in something that’ll shoot the head off a honky at 20 paces.”  She ends up leaving with a Walther P-38 (an ironic touch on the director’s part as the 9mm P-38 was the primary sidearm of the Third Reich), a box of ammo, and a grenade.  She also begins a series of covert actions which turn the surf-gangs on each other, shattering the fragile truce between them and leading to the deaths of all rival gangs and the loss in battle of Brutus.

When the dust settles after the Beach of Long Knives, the surviving Surf Nazis retire to their graffiti-enhanced bunker to rest and recover; but Big Mama has other plans.  In the light of early dawn, Mama rolls a grenade down into the bunker which comes to rest right next to Hook’s soon-to-be-non-existent head.  The grenade detonates and, in another ironic twist by the director, Adolf and Eva become the ones who survive the Final Bunker Scene; Hook and Mengele are now riding the tails of Hell-bound Bings.  Laughing in maniacal triumph, Mama roars off on a motorcycle, only to be pursued by Adolf and Eva in the gang’s shark-themed van.

After a chase, Mama manages to corner them in the part-yard of an oil refinery, getting off some shots before they escape in a very bad directorial cut.  Suddenly, the fleeing pair are stealing the boards of two hapless surfers and paddling into the bay.  Mama uses her 9mm charms to convince a fisherman to follow them in his powerboat.  After a pass or two, the boat runs directly over Eva, demolishing her board and leaving her severed head bobbing amongst the debris.  On the next pass, Adolf kills the boat’s owner with a throwing knife, leaving Mama to struggle with the controls.  Just as she regains control, Adolf appears over the fantail and tries to stab her; Mama is aware of him, however, and shoves the barrel of the Walther down Adolf’s throat, gagging him.  Just before she squeezes the trigger, she delivers one of the best B-grade, pre-mortem one-liners ever: “Taste some of  Mama’s home cooking, Adolf!” She blows out the back of his head and his corpse goes overboard as she laughs.

Final scene: Mama rides off on her motorcycle, laughing.  The End.

While this film suffers from bad photography, poor special effects, and a badly-written script, it does have some good points: a dark sense of humor; some of the old ultraviolence (and speaking of which, Hook is used as a vehicle for a few visual references to Kubrick’s Clockwork Orange); rather interesting performances by Sonye and Wildsmith (I said “interesting,” not “good”); a decent helping of 80s surf lingo, and a far better soundtrack than I would have expected.  While it is not in the league of Troma’s greatest triumph, The Toxic Avenger, it is still well-worth the time invested; if you’re in the mood for some sand and surf, it sure as hell beats watching Frankie and Annette.

.

roadside attractions

  • Breasts, ‘boards, and beer
  • Pistol Packin’ Mama
totals

5

blood

BLOOD

Mengele licks the blood of a rival off his knife-blade

5

blood

BREASTS

Covered and uncovered, including Wildsmith’s

0

beast

BEASTS

Not even a dead jellyfish in the shore-break

3.5 OVERALL
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Sep

Comments Off on Lucky Bastard

Lucky Bastard
“This will not end well.”

2014 – NC 17 – 94 Minutes – Revolver Entertainment
Starring Betsy Rue, Don McManus, Jay Paulson – Directed by Robert Nathan

Porn. That’s really all you need to say and you have anyone’s attention. I always found it strange that it’s the one thing we all watch, yet are ashamed to admit that we do… not that I watch it. People always seem to talk about how great it would be to work in porn and have sex all day, but let me tell you… you ever eat nothing but ice cream all day, then about halfway through the day, you think to yourself, “Man, I’ve eaten nothing but ice cream today. I’m kinda sick of it.” I imagine that’s what that line of work is like. At some point, getting it from behind must be tiring and you just want to go home and play some Super Nintendo. I guess that’s true with any job though.

But what if things get really out of hand? You know that point where things become too much to handle and the perks and pay don’t seem worth it anymore? And that’s putting it lightly. That’s kinda what Lucky Bastard is about. Things start off normal, get weird, you try to laugh it off, but then it comes back to bite you in the butt. Lucky Bastard explores the worst case scenario possible for adult film stars seeking out to do a service for one lucky fan. It does so through the ever increasing tiresome found footage genre, but to its credit its unique in the sense that nobody has done a found footage porn-esque horror film before, which is surprising, because most pornos play out like really really bad found footage movies.

lb_2Meet Ashley Saint played by Betsy Rue, who you may remember got fully nude for the remake of My Bloody Valentine. I remember it so much so, I have an autographed picture of that on my wall. Through the eyes of a camera (like the whole film, so I don’t know why I wrote that), two men who have lured a young woman, Casey, and are raping her, but stop their assault to welcome Ashley into their home to sign some papers (hey, even porn has to be legit) when she hears the cries of Casey in the back. Ashley snaps into action and stomps menacingly through the house, fending the captors off with verbal suggestion. Upon finding Casey and untying her, one of the men springs up and holds Ashley down and begins to rape her when she jokingly says… and I quote, “That’s my butthole!” Laughter erupts and the director, Mike, of this faux-rape movie steps out and introduces our star as everyone gets all chummy.

So, rape porn is a thing people enjoy?

To the movie’s credibility, you also get to see what it is like behind the scenes of a porno. Like driving a family sized SUV with Cheetos on the floor. Yeah, people tend to forget that even adult film stars have families… or feelings.

Anyway, Mike is actually quite understanding and seems to care about his actors, opposite of how you usually see porn producers portrayed in film. Mike also runs a website of the same name, Lucky Bastard. The title is makes sense, as fans submit videos of why they should get to be the lucky bastard to have sex with one of the adult film industry’s hottest ladies on film. The winner happens to be awkward and dweeby Dave, but something doesn’t seem quite right with him. He seems like a can short of a six pack, like he’s not playing with a full deck, like he’s lost his marbles.

lb_3What I’m trying to say is that Dave is crazy.

Right away, he begins giving Ashley the heebie jeebies as she tries to have a conversation with him, until he reveals too much detail about her personal life and she threatens to leave the production. Dave apologizes and the gig is back on, relocating to a home that has been fit with a dozen security cameras since it was once used in a reality TV show. Quite a convenient plot device; a house with multiple angles. Anyhow, it doesn’t take long for Dave to humiliate himself again and everyone in the cast and crew has a good laugh at him and his temper tantrum that follows. Well even if they didn’t get to shoot the horizontal mambo, they have some good bloopers to show. After all, part of intent of the site is to humiliate these “lucky” bastards. Demanding the tapes, Mike kicks him out and has one of his assistants drive him back into town… only they don’t make it. Dave smashes his head in with a rock and heads back to house with a bat, then gaining a firearm, and now everyone is going not going to be so lucky.

lb_4This one is a bit of a slow burn, taking it’s time to set up in the first act, getting down to business in the second and Dave finally kicks it into full sociopath mode in the last act. At times, the film feels like it’s dragging its feet, but quickly recovers from fumbling by some well done character development. Betsy Rue is quite good in this role, showing that she can be a fantastic lead. You really get the feeling that her character is burnt out from the adult film industry, but it pays well and she has a family to take care of. She mentions an abusive spouse in her past and she had to take control and you see as she relives those emotions through the movie. Don McManus who plays Mike also shows all the different layers he has, as at first you think he’s a good guy, then you see what a manipulative s.o.b. he is, so when he gets his comeuppance… and does he get it (I don’t want to ruin it for you, but it does involve something being inserted into his anus)… you still feel sorry for the torture the guy goes through. Even though I have to say, at times it’s hard to tell if he’s being manipulative or genuinely concerned for Ashley’s feelings. Well played, sir. Dave, on the other hand, I didn’t feel for. He was just weird and creepy throughout the film and not very menacing, even when he is going crazy. I don’t fault the actor, I just felt he was a weak character. I feel like a gust of wind could have knocked this guy the hell over and took his lunch money.

Being somewhat of a horror film, it manages to pull off some tension, but what it inevitably builds up to is a moment you know is going to happen, given away by the opening segment, which I’m beginning to notice is popular with these found footage movies. There isn’t much in the way of blood either, aside from some arterial spray, so if you’re looking look for a blood and guts spectacle, you are looking in the wrong place. However, if you are here for the T and A, then you have come to the right place. And that’s not just restricted to the ladies! In case you didn’t notice, this is an NC-17 film, so why it may not be real sex, it certainly pulls more thrusts (pun intended) and will fill your speaking with that familiar wet packing sound you’ve come to love.

Lucky Bastard
It’s understandably earned its rating and overall, Lucky Bastard is an enjoyable littler thriller. Although doing nothing new with the found footage genre, it doesn’t repeat all those tired jump scares and plot devices they love so much, not that you would be watching this to see if it reinvents the genre or something. So while the film may do a good job keeping your interest “peaked” when it’s being sexy, you may find that underperforms when it comes to the horror aspect. You see what I did there? Little sexual innuendos? I bet I’m the first person to make those kind of references when reviewing this film.

Check out this review and plenty others at Goon Reviews.

roadside attractions

  • Betsy Rue. Naked. That’s all you need.
  • Sex, Cheetos & Videotape.
  • Softball champ.
  • Sticking it where the sun don’t shine.
  • Premature humiliation.
totals

4

blood

BLOOD

Everything happens off screen or too quick, but the film doesn’t focus on gore.

9

blood

BREASTS

All actors and actresses are required to be naked when in the presence of this movie.

4

beast

BEASTS

Dave is the kind of guy who gets picked on by kids when he walks by schools.

5.6 OVERALL
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Sep

posted by admin | September 7, 2014 | B-movie Reviews, B-movies, New Releases, Review by Barry Goodall

Comments Off on Meat.Puppets

It’s not often we don’t do a deep dive into a movie review here on Lost Highway. We pride ourselves on giving you a full rundown on the blood, breasts, and beasts count and it’s highway attraction totals. However in the case of Meat.Puppets we’re not going to spoil any of the surprise as that just wouldn’t be fair to you our mutant reading public. Three girls are being held captive and taunted by some deranged psycho and that’s all you need to know! if we told you anymore we’d have to kill you. Meat.Puppets is directed by illustrator Roger Scholz and stars Ashley Short, Marjorie Pierson Yost, Jessica Rose Van Netten and Larry Lutzeit. This gritty feature was filmed on a budget of $70 despite $50 of that just being used to feed the cast and crew. It is truly one of the best times we had with a short film feature in a long time. You just have to see it for yourself. Get yourself a copy or check it out at your local horror film fest and let the director know what you think. https://www.facebook.com/meat.puppets.movie

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