Monday, September 29, 2008

a mini adventure.

More shlock from our Italian comic cousins with this scary school based tale of terror.


Yup it looks like an everyday
story of radio-controlled,

pink pants based violence!
Good stuff!

Ms. Hardaker has been pulled into the headmistresses
office due to the fact that her
class are bottom of the league tables.

Using a form of punishment not sanctioned by the
N.U.T. the head decides to tear her
pants and sussies with a toy car....

...before beating her to buggery with a belt.

But Ms. Hardaker has had enough...
the sight of the good ol' stars and stripes
gives her a burst of super strength...

Raising the flag like a veteran of
Iwo Jima she screams in defiance...

Before stabbing her tormentor thru' the heart.

The end.

Wednesday, September 24, 2008

people you fancy but shouldn't (part six).

The fantastically footweared Kirstie Allsopp.

Nuff said.


Tuesday, September 23, 2008

where are they now? (part two).

Buki Akib, the original (and sexiest) Josie Jump.

Just call to say you're OK.


Sunday, September 21, 2008

flogging a dead bird.




Tuesday, September 16, 2008

eye fidelity.

Marebito (AKA The Stranger from Afar. 2004)
Dir: Takashi Shimizu
Cast: Shinya Tsukamoto, Kazuhiro Nakahara, Tomomi Miyashita and Shun Sugata.


"Can I face the terror to which the only escape is to kill myself?"

Welcome to the Prozac fueled world of Takuyoshi Masuoka (Tsukamoto), freelance cameraman, manic depressive and pervy voyeur who rates recording the private lives of his unsuspecting neighbours and then sweatily watching them back whilst wearing only his pants and socks as his favourite hobby.

Whilst out picking up his (very) dirty laundry one day he is lucky enough to capture some footage of a poor guy committing suicide on the subway platform then (and how's this for a result?) even manages to sell the resulting film to a local teevee station (whilst keeping the full uncut version for his own personal use).

Well, it beats filming talking dogs for That's Life I guess.

With a beer in one hand and his cock in the other, Takuyoshi settles down to watch the final moments of (the by now identified) Arei Kuroki (Nakahara) as he takes his own life in a particularly unique way.

You see (no pun intended) Kuroki died by repeatedly stabbing himself in the eyeball with a pen.


Letting his voyeuristic tendencies take over, Takuyoshi quickly becomes obsessed with Kuroki's demise and, more importantly, the look of absolute terror on his face in those final moments.

What was he looking at? and did it cause him to take his life?

Takuyoshi has to know the answer.

Spending his every waking moment watching and re-watching the footage he suddenly notices that Kuroki is starting to stare at him from the screen (gah) and - if that wasn't freaky enough - new high speed images of bald bug eyed women (writhing in and out of big steel doors) begin appear on the video tape leading Takuyoshi to consider that whatever led Kuroki to take his own life must be living somewhere in the station.

Watch out watch out
there's a binman about!

Now to you or I this may seem like a bizarre jump of logic but to Takuyoshi this makes perfect sense (which is possibly a good thing as far as movie plots go, I mean imagine it if he spent the rest of the film going "Fuck's almost like this video is moving! I really should get out more..maybe even get a girlfriend").

Returning to the station and armed only with his trusty camera, a Derek Acorah mug and a warm hat, Takuyoshi carefully makes his way down to the basement (who knew that underground stations have basements?....I thought that, by default it would all be basement) in search of a wee bit of suicide-based spooky shenanigans.

Much to his (but obviously not our) amazement, Takuyoshi comes across the exact same steel door from his dream (but alas no saucy bald girls....yet) which when opened reveals a staircase that seems to go down into the very bowels of the earth itself...

Exploring deeper and deeper into the tunnels Takuyoshi is fairly surprised (but incredibly calm) when Kurokito turns up to inform him that he has, in fact, entered the land of the dead.

The real one that is, not the George A. Romero film.

Light your way with a Ronco Nipple Lite!

As the mismatched (and odd numbered eyed) pair travel deeper into the tunnels Kurokito treats the audience at home to what seems like days of subtitled chat regarding everything from the Hollow Earth theory to Illuminati conspiracies, as well as giving Takuyoshi some advice on how to dodge a Deros if he should bump into one on his travels.

In case you're wondering the Deros are a species of short sighted blood drinking beasts that inhabit the caves that may, at some point look like sexy laydees (it's worth making a mental note of that as it may become important later).

Is this all making sense?

None of this weirdness even remotely freaks out old Takuyoshi tho' as he continues stomping ever downwards eventually reaching a huge cavern overlooking a dark abyss (but then again, what other kind of abyss is there?). The cavern, amusingly named the Mountains of Madness (twinned with Basall Heath no doubt) is completely empty apart from a quite foxy young lady (Miyashita) chained to a wall by her (very slender) ankle.

Obviously forgetting the conversation he had with Kurokito only moments earlier (and not even taking a moment to wonder why she's chained up) Takuyoshi frees the young woman and takes her home for a Cuppa Soup and a bag of cheese and onion Ringos.

Aw.....what a sweetie.

it's Ron Resrie!

Forgetting his pervy peeping tom past (well kinda) he begins to teach the strange woman what it is to be human (but luckily not in a cheesy Star Trek stylee) and even goes as far as to give her a name.

Well he calls her F.

No one said he was in any way imaginative did they?

Beware the love cats!

It's then that stuff starts going completely hatstand.

Whenever he checks up on her using his camera phone (well old habits die hard) Takuyoshi is certain that he can see her talking to someone in the background and not only that but he's absolutely positive that he's being followed by a spooky pale man in aviators.

Any of this would be enough to frighten even Yvette Fielding but Takuyoshi is made of sterner stuff, until that is, he's confronted by a strange (is there anyone who isn't in this movie?) woman on the stairs of his apartment block.

It appears that the other underworld residents are a wee bit pissed off that he's taken one of their own to the surface and, if he doesn't return her soon she will die.


Needing a stiff drink after all this major plot development he returns home to find his lady friend sprawled across the carpet in a death-like trance.

Rewinding thru' the footage from his in-house surveillance cameras he finds that both have stopped recording before anything remotely interesting happened (not even a hint of white pants, damn them) but before he can do anything else his phone starts ringing.

Never having any phone calls Takuyoshi excitedly answers only to have a deep voiced (and maybe deep throated...who knows?) man ordering him to return the woman to her rightful home.

Or else.

You can't give booze to the baby!

What on earth will Takuyoshi do?

Will he return the woman and quietly go back to his world of perving or will he ignore all the warning signs and continue to sit and gaze lustfully at his new roomie?

And will the fact that Takuyoshi has discovered that his new pal needs fresh blood to survive affect his decision in any way (remembering what he was told earlier)?

Or is there something way more sinister afoot?

Gums in mah mooth!

Takashi Shimizu redeems himself after the fucking awful US Ju-on remake with this spooky lil' adaptation of Chiaki (super screenwriter of The Sleeping Bride, Digimon and Ultraman Tiga among other cool stuff) Konaka's first novel.

Throwing common sense out of the window and concentrating on stylish visuals and creepy sounds Shimizu delivers a fantastically satisfying mix of Argento cool and Lovecraftian horror topped off with a smattering of early Roman Polanski whilst taking its backstory and premise from real world myths and legends means that although at times the movie seems to slow down to an incredibly meandering pace you know this means that something even stranger and more disturbing is about to happen.

Usually involving alternate realities and parrallel dimensions (which makes a change from long haired ghost girls I guess).

(dead) eye son.

Forgoing cheap frights and gore for a more cerebral approach to it's scares, Marebito delivers a fair few uncomfortable moments and disturbing images that will stay with you long after the movie has ended (well at least that night depending how drunk you are) and although never scaling the dizzyingly shite-scary heights of the original Ju-On: The Grudge is still worth a couple of quids rental in anybodies book (except maybe Rob Zombie who would no doubt want to remake it with his missis and a cast of midgets).

Monday, September 15, 2008

johnny be good.

For the ladies (and a fair few gents) here's B-movie icon and father of Nancy Thompson, John Saxon as a (very) young man.

You would.



Thursday, September 11, 2008

plane crazy.

And Wonder Woman even flew her invisible plane into the World Trade Centre....

Photobucket Image Hosting

Spooky eh?

weird things.

Marvel Comics predict the Sept. 11th terror attacks.

Photobucket Image Hosting

And again in 1991....

Photobucket Image Hosting

Sunday, September 7, 2008

cinema's forgotten legends (part 14...probably).

She's the vacant eyed, button nosed 80's breasted blonde star of many a lo-fi Euro epic ranging from Jess (the sandwiches cost how much?) Franco's classic Cannibals to the Fulci masterpiece Conquest via the sauciness of Blue Island.

Ladies and gentlemen (but mainly gentlemen) I give you...

Sabrina Siani


Usually either naked or at the very least in a pair of tiny pants, the actress whom Jess Franco once referred to as "the stupidest person I've ever met" began life as plain old Sabrina Seggiani in the backstreets of Rome in 1963, child to a pair of performing circus midgets.

After spending her childhood living in the mountains and attacking travelers for food and clothes she was discovered at the age of 16 by ace director Alfonso Brescia when he caught her rifling thru' his bins one stormy night. Immediately he cast her as Maria in his Mafia vs. shopkeeper epic Napoli... la camorra sfida, la città risponde (no I have no idea what it means either).

And the rest, as 'they' say is history.



It wasn't long before she was setting the screen alight (oh, hang on that was the audience) as the arse baring teen cannibal cutie in the fantastic (well, I say fantastic but I really mean barely watchable)
Mondo Cannibale and finding new ways to look slightly bored whilst stripping naked in a load of instantly forgettable Italian sex comedies.
Whilst other, lesser thesps would be happy to continue showing their breasts to wee bald Italian men for cash, Sabrina knew that there was more to her talents, if only a director would give her the chance to prove it.
That chance came sooner than she thought when professional liar and all round thin man Umberto Lenzi cast her as a scantily clad female Tarzan in his 1982 movie Incontro Nell'Ultimo Paradiso.
From that point there was no stopping Siani in her plan for cinematic domination as she wowed audiences with her chameleon like ability to play everything from a scantily clad sword-swinging siren in Joe D'Amato's Ator the Fighting Eagle to an even more scantily clad wicked witch in Fulci's sword and small pants epic Conquest.

Will this nipple sneak past Mr. Photobucket?

Naked save for a market stall g-string and a drugged python and with her face hidden beneath a joke shop robot mask, Siani comes into her own as the evil leader of a gang of marauding dog men with a penchant for snorting their vanquished victims brains thru' bendy straws and unconvincingly snapping nude women in half.

A pair of tiny pants of the type worn by Siani.

It says a lot for Siani's convincing portrayal of evil that at the films climax when her mask opens to reveal a rotting, putrid corpse face that the majority of the audience still would.
Twice if the truth be told.
Siani: sucking a lemon.

Siani's finest hour however was when she appeared as the Golden Goddess in Michele Massimo Taranti's arse numbingly serious sub - Conan cash in Sword of the Barbarians.
Her entrance in the movie, emerging mysteriously from a fountain of party poppers and glitter whilst wearing only a plastic crown and bejeweled thong slowly making her way towards bearded beefcake Pietro Torrisi for a spot of hot barbarian bonking makes the proceeding carcrash of badly staged swordplay and stilted dialogue all worthwhile.

After a couple of soft core/hard gore sleaze epics, Siani reunited with D'Amato (and her Mondo Cannibale dad Al Cliver) for the futuristic actioner 2020: Texas Gladiators before hiting the high brow groove as Berthilde in Dino Risi's medieval romp Le bon roi Dagobert, a surprisingly funny (and realistic) portrayal of the life of Good King Dagobert, the first French king to be buried in the royal tombs at Saint Denis Basilica (see? this blog is educational too).
Then after appearing (nude of course) with Fred 'The Hammer' Williamson in the no-brainer Black Cobra she vanished leaving behind only a tiny diamante thong and a blink and miss it cameo in Fulci's Aenigma.

Neither seen nor heard from since, we hope that wherever she is now she's happy (and not having to wear the shite facepaint she did in Mondo Cannibales).

Wednesday, September 3, 2008

killer what?

Taking a leaf from Mr. Pix, artwork found in folders part two.


Will this issue of Killerwatt ever see print (and more importantly will I ever finish this cover?)

Tuesday, September 2, 2008

too much time (lord)?

Someone made this. I hope their parents are proud.