Sunday, November 8, 2009

super fly (poster) guy.

Found these on my (internet-based) travels and had to share (a wee bit like I would if I had crabs).

Pay attention, here's the history part.

In the dim and distant 1980's the uprise in video cassette technology gave birth (not literally in a kind of David Cronenberg way - that would be sick) to the mobile cinema phenomena in the West African country of Ghana.

These touring cinema's (
usually created by hooking up a TV and VCR to a portable generator) would travel from village to village using large barns or even tents as temporary venues.

In order to promote these showings, local artists were hired to create large advertising posters of the films. These were usually painted on used canvas flour sacks with the artists working from very little - and in some cases no - reference materials at all meaning that they often added elements of their own baring no relation to the actual movie.

The mobile cinema craze sadly began to decline in the mid-nineties with the greater availability of television and video to the countries populace and, as a result the groovy painted film posters were replaced with shoddily photocopied versions of the actual covers and advertising artwork.

So here, for your enjoyment are a few examples from that bygone age.

Enjoy!



















I shall stop now before anyone begins to mistake this for one of those 'proper' film blogs with well researched posts etc. I mean, I'd hate you to come away from here thinking you'd learned something.

Friday, November 6, 2009

something for the weekend sir?

...As a wee Friday treat here's a vintage death certificate handed out to patrons who attended this fantastic double bill from times gone by....

Wednesday, November 4, 2009

the tedious footsaw massacre.

Staunton Hill (2009).
Dir: G. Cameron Romero.
Cast: Kathy Lamkin, Cristen Coppen, David Rountree, Kiko Ellsworth, Christine Carlo, Paula Rhodes, BJ Hendricks and Charlie Bodin.





It's 1969 (OK?) somewhere in a part of America that has loads of trees and stuff and where group of faceless and fairly interchangeable friends - hunky behatted Cole (co-writer and drummer with Blur Rountree, best known for appearing in the Britney Spears Oops, I Did It Again video), the token politically minded black dude Boone (shiny browed co-producer Ellsworth) and his granite jawed missis Raina (star of Nora's Hair Salon, Carlo), teeny tiny Trish (actress, composer, writer tho' obviously no judge of quality Rhodes) and the terrifyingly toothsome Jordan (Coppen, I can't be arsed looking her up) - are busy hitch-hiking their way to Washington D.C. for a rally of some sort or another.

By the year we can assume that it's either to protest against the war in Vietnam or to demand equal rights for someone, seeing as that's all folk did in the sixties.

The writer obviously doesn't care enough to give a specific reason so why should I be bothered to think of one?

Not having any luck finding a ride (tho' you'd need a bus to carry all of them) they decide to stop at a roadside garage, store for no other reason than to give the writer the chance to have a pock-faced Hick use the word 'nigger' (shocking) and to introduce car driving cut-out Quintin (Bodin, all pube beard and ticks) so he can offer them a ride.

So far so clichéd.


"Hello, I'm bad".



Well would you believe it, halfway down the road Quintin's truck breaks down, leaving our party stranded in the woods with a storm brewing and no shelter.

But wait, didn't they pass what looks like a deserted farm a few miles back?

Maybe they could stay there till morning.

I mean what's the worse thing that could happen?

Heading off thru' the trees and over a hill (the sound of thunder and local traffic rumbling in the background) our merry band of cipher's take refuge in a big barn and bed down for the night.

I feel that I have to interject right now to point out that it's taken about 35 minutes of the movie to get this far.

Yup, a third of it's running time is over and absolutely fuck all has happened.

No character development, no suspense, no hope of a quick and painless end to the viewers suffering, nothing.

Waking the next morning (which is more than my arse had done by now) the friends come across (and I so wish I'd been literally) hulking, moonfaced inbred Buddy (another co-producer and living potato BJ Hendricks) raping a cabbage patch.

Actually the last bit is a lie but I'm trying to brighten up the review in a way the writers didn't bother with the film.


"For Gods sake somebody throw a pie!"



Buddy's (like all big boned movie mentalists) response to Cole's friendly greeting is to hit him in the face with a spade.

Cue some slow fighting and staged wrestling till the farms owners - wheelchair bound alcoholic Geraldine Staunton (Weston) and her lard loving daughter Louise (Lamkin, playing exactly the same role that she did in the Texas Chainsaw remake) arrive in time to break it up, apologise and invite their guests to stay for a big meaty breakfast.

Cut to lots of long, lingering close ups of Buddy actually cooking the said brekkie followed by even more shots of the cast eating it, intercut with close-ups of Quintin calling the chef a retard.

Realizing that the movie has almost finished yet no-one has died yet (except me, inside) our cardboard crew decide to head out to the fields in an attempt to fix the families van in the hope of borrowing it to travel to the next town or something tho' Trish, desperate for a wee stays behind to look for a toilet.


"That was a damn fine bit
o' mooth shite-in there boy!"



Wandering aimlessly (and whining annoyingly) around the farm she first stumbles across Buddy having a sly Barclay's whilst looking at pictures of Tiny Tears dolls (which isn't as funny as it sounds, I mean the cast are so uniformly unattractive that given the choice I'd probably choose to crack one off over your gran than anyone on offer here) before taking a wrong turn and ending up in a scary (re: filthy) operating theatre built onto the back of a shed.

Taking it all in her stride (tho' unfortunately not in her mouth) Trish tiptoes around opening every door and cupboard in the hope of finding a loo (or a bucket - she's been needing a piss for what seems like days) just as Buddy, brandishing a hammer, turns up and beats her to death before cutting her throat and skinning her.

I'm no medical expert but I'm sure that if you needed a slash (of the wee kind, not your throat) so badly then at least a little bit would come out at the moment of death?

But not to complain, at least we finally get a killing.

Pity it's so boringly directed really.

Which, if I'm honest wouldn't be that bad if we actually gave a toss about any of the characters.


"Hole in mah neck!"


It's not long (thank fuck) before the surviving friends find themselves being hunted down by bad boy Buddy and his family and discover the true horror behind the seemingly random acts of slaughter.

Which (as far as I can gather seeing as my finger was permanently attached to the fast forward button) seems to involve them running an illegal severed foot farming operation led by Quintin (the ex medical student brother of Buddy) out of the converted coal shed behind the house.

Yes, really.


Beard of evil.


Those regular readers of this fine blog will know that this is the point where I usually wax lyrical about the movie in questions production, cast etc. in a cutting yet oh so amusing fashion
adding clever observations and sometimes scandalous lies for the enjoyment of those childish enough to find references to 'mooth shite-in' and the overuse of the comedy catchphrase 'laugh now' the height of cinematic criticism.

But frankly when it comes to Staunton Hill the only thing that comes to mind are three little words over and over again.

Absolute fucking pish.

Look, I'll show you what I mean:

Direction: Absolute fucking pish.

Acting: Absolute fucking pish.

script: Absolute fucking pish.

And so on and so forth.

It's as if the movie has somehow fallen thru' a crack in space/time from some bizarro world where good plotting and character development have no place, it's as if someone decided to remake the Frederick Friedel classic Axe but without any of that films suspense and tension (for any American's reading this is what we Britfags call irony).

I can imagine Cameron and his buds sitting around drunk after reading the script and saying "Hmm, you know what, this script seems a lot like The Texas Chainsaw Massacre....how can we make it different and unique?".

"Well, that film's got Leatherface in it, so named because he has a mask made from human skin..."

"Gee you're right! Every major horror movie villain has a trademark look; Freddie with his hat and finger knives, Michael Myers with his Quick Fit overalls and William Shatner mask and Jason with his hockey mask and machete!"

"Let's give the folk watching a real fright...let's make our killer fat and ginger..."

"And almost myopic from constant masturbation!"

"But what can we call him....His name needs to strike fear into the hearts of cinema goers everywhere..."

Scratching his head Cameron glances over at his record collection catching glipse of the Chesney Hawkes hit 'The One and Only".

"I got it! how about Buddy?"


The only way you'll get viewers to
sit thru' this crap till the end.


Cameron Romero, hang your head in shame and George, if I were you I'd get a paternity test done as soon as possible because if this is the kind of shite your 'son' is producing then I'd check your missis wasn't playing around with John Russo behind your back.

It's the only explanation I can think of.

Monday, November 2, 2009

nuns on the rum.

Mr and Mrs Dissolved love this movie and I love them, so here's a specially dedicated review as way of a (very cheap) wedding present.

For those of you who've never seen it I'll try to be kind and not give too much away.

And for those of you who have, just skip the review and see how many different words you can make up out of the casts almost Scrabble-like names.

Dark Waters (AKA Dead Waters. 1993)
Dir: Mariano Baino.
Cast: Louise Salter, Venera Simmons, Mariya Kapnist, Valeriy Bassel, Anna Rose Phipps and Alvina Skarga (yes, THE Alvina Skarga).




"Don't mind him, he keeps the other freaks away!"



Somewhere on a cold, rocky coastline (must be the isle of Lewis by the look of the people living there) lies an imposing looking convent high on a cliff top overlooking the sea (and by the state of the curtains the rent too).

Inside a young(ish) nun is happily going about her daily nun type business (prayers and such like - I'm not a bride of Christ so I've no idea, sorry) when a young urchin bursts in and hands her a huge cardboard medallion with a picture of a scary monster carved on the front.

Suddenly a raging storm starts to brew and the local vicar notices his roof is leaking.

Grabbing the strange object from the child's filthy mitts the nun bounds out of the convent and heads towards the nearest cliff as the angry sea swells around her like a big swelling wet thing first engulfing the rocks below then completely flooding the church causing an unfortunate vicar/neck/big crucifix interface.

The storm subsiding, the nun is left perched above the island like a big black crow gazing wistfully toward the dawn as she clutches the medallion to her (probably) ample bosom.

Suddenly she finds herself under attack from a rampaging camera POV sending both her and the stone thing crashing onto the rocks below.

The remaining nuns (who were obviously hiding in a secret underground lair as nuns do) hurry out to the rocks in a bid to collect the lumps of broken badge before hiding them in tiny boxes in a cave.


"Shite in mah demonic mooth!"


We (I saw 'we' but I mean the movie, it's not like I suddenly found myself waking up an old man or anything) suddenly flash forward twenty years to find posh British tottie Elizabeth (Salter from Our Friends in The North) has returned to this strange land in the hope of visiting the island to discover why her late (as in dead, not lousy at time keeping) dad had been making monthly payments to the convent for the last decade or so.

Luckily for her (and the plot) her best friend Teresa (Phipps, never to be heard of again) is actually a real life nun living on the island so has been writing to Elizabeth to give her all the Godly gossip regarding her dads cash and the like.

Teresa, we discover enjoys nothing better than a good nosy around on her days off and one day, whilst exploring the spooky catacombs below the convent stumbles upon part of the monster-headed medallion.

Unfortunately before she can tell anyone she's stabbed to death in a frenzied attack by another nun.

Isn't that just typical?

Meanwhile Elizabeth is amusing herself by staring at the locals who, it must be said make Glasgow on a methadone day look normal by comparison. There's a man breasted freak trying to get a light from her on the bus (whose best pal is a buck toothed, giggling midget), an old lady with wooden teeth and a half naked fisherman who enjoys nothing better than scoffing live cod he finds washed up on the beach.

And that's just the posh folk.



Innsmouth? Shite mooth more like.


Chartering a boat from the mainland (whilst dodging the sick in the streets and the track suited neds wandering about - probably) from a big bearded man who smells of peat, Elizabeth is informed that the ferry service only runs once a week, so she'll have to speak nicely to the nuns if she hopes to have a roof over her head seeing as the only other option is a damp cave on the seafront surrounded by seagull shit.

Sounds more and more like the west of Scotland by the minute.

Luckily the Mother Superior is actually quite friendly (which makes up for her lack of teeth and scary, parchment like skin), not only offering Elizabeth a room but also assigning a fresh faced (and curvaceously arsed) novice named Sarah (Simmons) to be her guide during her stay.

No sooner has she unpacked that she starts questioning her new pal, hoping to learn more about her mother, a native of the island who died giving birth to Elizabeth and Sarah, not wanting to let her charge down heads to the library to see what she can find out.


Fireman Sam's secret identity revealed!


Surprisingly there's sod all about Elizabeth's mum but loads about a scarily multi-breasted she-demon (know as She who was, and is not, and yet is, or Margaret to her friends) who allegedly inhabited the island centuries past....

But what has this got to do with Elizabeth's birth and her fathers links to the convent?

why is a hefty, sightless old woman following our heroine around?

And why (no really, why) do the nuns keep a blind skinny monk (who appears to paint using a spooky sixth sense) locked in a pit?

Some (if not all) of these questions will probably be answered by the films climax.

But to be honest it's more about the ride than the final destination.

Which, in this case isn't a bad thing.


Our house yesterday.


Director Mariano Baino's one and only (so far) full length feature is a lushly shot and absolutely mesmerising love letter to the dream-scapes and writings of HP Lovecraft, taking the symbolism and images from the masters work and moulding them into a surreal, almost fairytale like scenario where logic plays second fiddle to feelings of otherworldliness and nightmare inducing visuals.

Everyone (and everything) can be perceived as a threat to Elizabeth, whose rain jacket makes her appear as some kind of Red Riding Hood figure, only this time surrounded by an entire island of wolves (and there's even an appearance of sorts by Grandma, bringing further comparisons between the two characters).

And like that story there are the running motifs of huge eyes and mouths. From the gaping maw and wild eyed gaze of the carved demon to the films unusually large amount of blind characters (the aforementioned old woman, the artistically minded mental monk in the cellar and the Mother Superior are all sightless) via the toothy grins of the local inhabitants, misheard dialogue and impenetrable accents adding to Elizabeth's (and our) sense of being lost and alone.

Ripe with dark and dream-like imagary ranging from scenes of silhouetted nuns, crosses burning in the sunset marching purposely across the landscape to dreams of small girls leading an undead, crucified Nun thru' candle filled catacombs, Dark Waters is one of those rare movies that linger in the mind long after you've finished watching.

We just need everyone who's seen it to bombard Baino with emails now demanding he make something else.

Let's see how many we can get before Christmas.

Sunday, November 1, 2009

burqa and hair (raising).

At last! a blog entry about something other than Romero!

Tho' it still features zombies but I guess you can't have everything.

Zibahkhana (Slaughterhouse, AKA Hell's Ground. 2007)
Dir: Omar Ali Khan
Cast: Kunwar Ali Roshan, Rooshanie Ejaz, Rubya Chaudhry, Haider Raza, Osman Khalid Butt, Najma Malik, Sultan Billa, Salim Meraj and Rehan.



You are on the road to Hell, my children.
On the road to Hell!


Isn't it always the way? Pakistan's biggest dance festival is about to start and wouldn't you know it, it's gonna be taking place on a school night!

But if you think that going to stop our motley band of Islamabad based teens having a wild night of music, mental dancing and muddy boots then you've got another thing coming.

Living, breathing Bratz doll Roxy (big haired bad girl Chaudhry) has it all planned, her buddies are going to sneak away in a colourful van and tell their respective parents that they're studying at each others houses.

What could possibly go wrong?

Accompanying her to the groove-some (as opposed to gruesome) fest are drugged up horror geek Vicky (Roshan), binman's son Simon (the Pakistani Daniel Radcliffe Raza) and the sweetly sexy to a point of almost being librarian-esque (as only good girls can be) Ayesha (Ejaz) alongside designated driver and token older guy OJ (Butt).

So, who's your cash on surviving to the final reel then?


Ejaz: scrumptious.


After a few coffees (and an encounter with some scarily saucy transvestite hookers) our merry band head off toward their dance-tastic destination, stopping only to visit Deewana's world famous tea shop.

What do you mean you've never heard of it?

A sign of spooky things to come occurs when Vicky is convinced that the Bruce Willis vested Deewana is actually the cult actor and star of The Living Corpse (AKA Dracula in Pakistan) Rehan, although the creepily hairy backed tea legend angrily denies this. He's more interested in why such good Muslim kids aren't preparing for evening prayer.

Freaked out by all this talk of praying and curses our heroes grab some tea and buns before making their excuses and leaving.


Jonathan and Jane: the wilderness years.


Could things get any worse?

Well after all that tea and cake poor Vicky seems to have developed a dodgy tummy and begs his buds to pull over so he can go vomit in a lake (as one would) but even before he's managed to wipe away the shame from the corners of his mouth he's attacked and bitten by a crazed, green skinned tramp.

Who also steals his stash.

Thieving undead bastard.

Simon, being the heroic type, offers to go search for the drugs (and the scary knee biting pikey) whilst Vicky sits huddled in a corner sweating and rubbing his leg in the hope of getting some female attention.

Bless.


Who's sari now?


Simon returns with the drugs (and in one piece) and, after a wee bit of shall we shan't we? the gang decide it's probably for the best if they just carry on toward the festival and hope one of the first aiders has a plaster and a junior aspirin for Vicky victim when they get there, which would be a fine course of action if OJ hadn't taken a wrong turn when hurriedly leaving Deewana's tea shop and gotten them all lost.

In the woods.

Surrounded by the living dead.

There's only one course of action left to our heroes and that's to sit in the van and scream like wee girls as the zombies excitedly devour the contents of an abattoir bin next to the road.

Luckily OJ remembers that they're in a van not a shed, and drives away before the zombies can attack, or at the very least scratch the paintwork.

After driving what seems for hours and needing something to break the monotony of Vicky's vomiting and the girls screaming, the (at this point not so) merry band pull over at a big tent in the middle of nowhere in the hope of getting directions to the festival and maybe a few bottles of Lucozade to keep them going.

Have they never seen Bio-Zombie?

Obviously not, nor the original Texas Chainsaw Massacre by the looks of things seeing as they happily offer a lift to a mad as a bag of spanners bearded type named Baley (Meraj, being scarily more like Bill Moseley than Moseley himself) who, after squatting on the floor of the van and demanding water starts shouting "I will drink the blood from your veins!" before pulling a severed head out of his man-bag.

Reacting with a mix of utter pant wetting terror and a wee bit of mild embarrassment the group scream at the horrible hobo for a while before kicking him out the van and running him down like a dog.

Which is a little extreme methinks.


"Laugh now!"


Waiting till the screaming has died down Ayesha suggests that maybe, just maybethey should give the festival a miss a head home. Roxy (who it must be said has spent about three days trowelling on her make-up in preparation for the event) is adamant that the show must go on, only changing her mind when she accidentally sits on the severed head left on the seat by the late lamented Baley.

It seems obvious to me that he only left it there because it too wanted to attend the music fest but had no body to go with.

Sorry.

Like a whippet up a particularly greasy drainpipe Roxy jumps out of the van and legs it into the woods whilst everyone else starts screaming again.

The screaming continues for about ten minutes, with everyone in the van desperately trying to be considerably louder than their pals which means when the pals finally collapse thru' lack of oxygen no-one has the faintest idea where Roxy has gone.

Ayesha and Simon, being the clean living heroic types give chase.

OJ volunteers to sit in the van with a considerably greener and more zombie-like by the minute Vicky in case they need to make a quick getaway.

What a guy!


"Oooh....who fancies a wee
bit a mooth shite-in?"


Stumbling blindly thru' the woods, our dynamic duo come across a ramshackle house and, hoping to get help bang on the doors whilst, yes, screaming.

After a few minutes of banging and screaming (and reckoning that their day can't get any worse) Simon and Ayesha slowly enter the house hoping to find a nice old lady with a phone that they can use.

It comes as no surprise to us (but a bloody big shock to the two friends) when stomping out of the kitchen comes a giant, burqa-wearing beast of a bloke brandishing a huge spiked ball on a chain and after a wee bit of a chase, puts it in poor Simon.

And yes, before you say anything I am aware (as is Ayesha, who seems to find this the most shocking thing so far) that men don't usually wear burqa's.

But I for one wouldn't say anything to him about it.


Meow. Twice.


Meanwhile Roxy, all messy hair, smudged make-up and tearful of cheek (but still nowhere near as hot as Ayesha who frankly has become a wee bit of an unhealthy obsession by this point, sorry Ms. Ejaz if you're reading this) has been found by a sweet old lady who lives in a tent just up the road from all the carnage.

And not only that but this old dear has tea and toast!

As a minus point tho' she does have her dead hubbies corpse in a cupboard and pictures of her two sons plastered around the walls.

One of whom seems to enjoy wearing a burqa....

No, it couldn't be...

Could it?



Taller than Freddie, sexier than Jason and
far easier to dress as than either one of them.
Raise your glass for the Burqa Baby!



From the deranged mind of Islamabad Ice cream shop magnate Omar Khan comes what is quite possibly the best lo-fi horror movie of the past ten years if not the most fun ninety minutes I've spent with a teen killing mentalist for quite some time.

The surprising thing is that, on paper Hell's Ground should be little more than a run of the mill Texas Chainsaw rip off but it's kudos to Khan and his team that it's so much more than that, being at once an incredibly funny pastiche and an honest to goodness homage to the stalk and slash genre he obviously loves so much.

From the pre-credit sequence onwards you know you're viewing something extra special and it's this love and understanding of the genres conventions that soaks (bloodily) thru' every single frame and every performance on show, the cast are uniformly fantastic, with special mention to the classically creepy Salim Meraj.

Honestly his performance is so convincing you can actually smell the urine and stale sweat thru' the teevee - God help you if you're watching in Blu-Ray.

And I'm gonna go out on a limb and say that the elfin Rooshanie Ejaz could quite possibly steal Bruce Campbell's crown (and heart) as the ultimate horror hero for a rapidly approaching new decade.

If nothing else she looks much sexier than the big chinned one when drenched in blood.

Sorry Bruce.

Frankly essential viewing and an essential costume come next Halloween.

Now any chance of a sequel with Burqa Baby battling an army of ancient Jinns please Mr. Khan?

I've already started on a script if you're interested.



drawn of the dead.

Running out of puns but for those of you interested here are the portraits done of Ken Foree and Joseph Pilato for the Romero Dead Double in Glasgow.

As always, enjoy!




just a thought...

Is it just me or does Gaylen Ross get hotter the more shot to fuck her nerves get in Dawn of The Dead?

Just curious.