Monday, November 25, 2019

pakula lives!


With the Mark Gatiss/Steven Moffat update of Dracula looming on the horizon and after spending a weekend immersed in the original Universal Monsterverse thanks to a bumper showing of classic creepies on the Horror Channel I thought it was about time I had a rewatch of one of THE greatest monster movies of all time.

Fact.

"Children of the mooth....what shite they make!"



Zinda Laash (AKA The Living Corpse, Dracula in Pakistan - 1967).
Dir: Khwaja Sarfraz.
Cast: Rehan, Ala-Ud-In, Asad Bukhari, Nasreen, Latif Charlie and Deeba Begum.






The kindly, yet oh so slightly hatstand Professor Jimmy Tabini (60s superstar Rehan who most of you may know from Hell's Ground) has spent his whole life (so far) trying to create a magical medicine that will quite literally hold back death.

And get rid of those eggy stains you get on the underside of your pants.

Unfortunately for him - but not for the movie obviously -  things go a wee bit awry when takes a swig from the bottle to test it and suddenly drops down dead.

As luck - and plotting - would have it his cutesy cardie-wearing assistant Gayle (Nasreen best known as Girdhari's Mom in Tel Malish Boot Polish) is on hand to quickly carry him to the cellar and pop his body in a handy coffin.

Which is nice, if a little abrupt.

But almost immediately after nailing the coffin shut Gayle notices a spooky scratching noise coming from within.

Putting it down to wolves she retires to her bed for the evening little realizing that the home-made medicine has had a bizarre effect on the good doctor.

Well more bizarre than appearing to kill him stone dead obviously.

It seems that the powerful potion has turned Tabini into one of the undead causing him to rise from his grave whilst dressing in Bela Lugosi's hand me downs.

Well I hope they're his hand me downs seeing as Lugosi was buried in his cape and suit - I'd hate to add grave robbing to Tabini growing list of misdemeanors.

So imagine Gayle's surprise that night when she comes across the resurrected Tabini on her way to the toilet.

The surprise soon turns to terror tho' as he greets her by chomping down on her neck.

Something tells me he's become a vampire.

Oh yeah - the movies title.

Sean Connery farted....and it smelled of haggis. And shame.


Being based on Bram Stoker's book it's not long before someone called Harker turns up - in this case the handsome Dr. Aqil Harker (Bukhari) tired and hungry after a trip to the local Londis (probably to see if they still have Orloff And The Invisible Man in stock) who arrives at the Professor’s humble abode looking for food and lodgings.

But not, i hasten to add a vampiric encounter.

Tabini resplendent in all his dinner suited glory creepily greets Aqil and quickly takes him upstairs to 'show him to his bedroom'.

I don't know about anyone else, but when men of a certain age have rushed me upstairs we've at least discussed payment first.

But just as the movie is seeming to head into the territory of 'the homolust' much feared by Pakistani cinema a photo of  Aqil's fiancée falls from his overnight bag not only to prove that the doctor is as straight as they come but to give Tabini a chance to show us his pervingly lustful look.

So we're all winners really.

Portishead: The pikey years.



Maybe Aqil could have avoided trouble when sleeping in strange old men's houses by wearing a picture of his missis in a heart shaped badge on his lapel but then maybe he fancies a wee bit of camp count action for a change.

And with that thought he makes his excuses and goes to bed only to be woken  from a restless sleep some time later by the spooky sound of singing emanating from the cellar.

As is the way in horror movies (yup even those with sporadic musical numbers) Aqil grabs his dressing gown and heads off to investigate soon coming across (and who would blame him?) the professors assistant - clad only in a sheer, granny style nightgown - sexily undulating and generally being a saucy minx in an attempt to seduce him.

I say.


Your mum yesterday.


Unable to resist the sight of a full hipped dusky beauty in a flowing nightie Aqil is soon not only under Gayle's hypnotic spell but a servant of the undead Professor Tabini.

A man of science now possessed by an evil supernatural force.

"I fang you!"

Will Aqil's family notice he's missing and mount a search party?

Will his Fiancée Janet - overcome with grief for her missing man - begin singing in the street for absolutely no reason? 

And how will she manage to free him from Tabini's - and more importantly the foxy vamp vixens - power?






Unashamedly borrowing wholesale from (and in the case of James Bernard's score for Horror of Dracula - blatantly stealing, alongside an incredibly strange version of La Cucaracha.) the Hammer and Universal Dracula cycles by way of a Bollywood style make over - the wonderfully weird Zinda Laash is exactly what you'd expect from a film entitled 'Dracula in Pakistan'.

Switching seamlessly from classic Gothic terror to song and dance scenes at the drop of a cape, the movie also adds some unique touches to vampire lore.

Whereas the 'western' Dracula has the ability to shape change (mostly into a bat in screen versions) Tabini is more likely to hop into his car for a quick getaway.

Same goes for Dracula's use of his 'persuasive' mind powers, whereas we're used to the Count's hypnovision, Tabini is more likely to just beat the shit out of people in order to get his own way.

And it's these scenes of wanton violence alongside dance routines dubbed "Too sexually provocative" by the censors that led to the film's almost banning only getting a release after the sexier scenes were cut and then with an 'X' rating,  the first ever in Pakistan.

No mooth shite-in allowed!


And it's this mix of the familiar and downright bizarre that make this movie such a joy to watch, plus Nasreen is probably THE most exotic - and not to mention sexily swivel hipped - vampire babe to ever grace the silver screen.


Genius from start to finish.

And Rehan gives the greatest ever performance as Count Dracula in any movie ever.

Fact.

Friday, November 22, 2019

stuff....

....you find stored on SD cards you come across in the street
(Part One).












Thursday, November 21, 2019

spain oddity.

Was tidying up the scary cupboard yesterday in order to try and find some shite sci-fi I can review in the countdown to The Rise of Skywalker (as I mentioned yesterday, it might get me a few more readers) when I came across my copy of the craptastic Ghosts of Sherwood hidden under a pile of old copies of Titbits magazines.

As I held it fondly in my arms I remembered back to my review and how I thought I'd never seen a movie quite so shockingly awful ever again.

But guess what?

I was wrong.

So terribly, terribly wrong.

Total Retribution (aka Earthkiller, 2011)
Dir: Andrew Bellware.
Cast: Robin Kurtz, Walter Barnes, Joe Beuerlein, the directors family and friends, your dad, my dad and that scary woman that hangs about the corner shop who smells of bananas.

“humanity will end itself”



The time?

The future (sometime just after lunch possibly),

The place?

High above a children's sandpit.

The audience attention grabbing situation?

Well that'll be the sight of a milky thighed woman falling from the sky as the words “humanity will end itself” play out in a loop.

Now I'm intrigued.

Especially seeing as she's a ginger.

Crashing to earth in a burst of special effects of the kind not seen since I last booted up my Atari 2600 our mysterious heroine is soon found by two portly gypsies dressed in their dad's work overalls (and their little sister's Harry Potter cosplay capes) who appear to have an unhealthy interest in the huge chocolate coin she's wearing around her little bird-like neck.

It can't be that they're hungry - greedy yes, hungry definitely not -  so it must have another significance.

It's like a nursery school adaptation of Hardware but with pound shop glitter and glue replacing, well everything really.

Here come The Belgians!



Jumping forward two hundred years (well that's what it says on the caption) we find the very same woman now completely naked and standing in what seems to be a stationary cupboard aboard a high-tech space station that appears to have been rendered by a hook handed child on a V-Tech look and learn tablet.

Luckily she still has the chocolate coin tho.

The woman (whom we discover is named Helen and portrayed with all the charisma of a - fairly - annoyed geography teacher by Robin Kurtz who, truth be told is the nearest the movie will get to having a bona fide actor on screen so make the most of it), bored with standing around shivering in the obviously cold set (trust me you can tell) decides to have a wee peek outside the cupboard just in time to see a guard shot herself in the head amid a pile of Kwik Fit overalled corpses.

There's no time to rest tho' (or even admire the shoddily constructed cardboard sets) as no sooner has the poor woman's head hit the ground when a rag tag couple of military types turn up to wax lyrically about death and 'the scriptures'.

As you do.

Sauce.

With the set not being that big - and with Helen being fairly tall - our naked pal is soon forced out of hiding and into a playground style Mexican standoff with the soldiers before everyone involved gets bored and goes their own way, the duo off into a darkened corridor and Helen straight ahead giving the director a chance to linger on her brightly lit - albeit frighteningly skinny - arse.

It's not all religious chat and nudity tho' as Helen is soon back to her old hiding tricks when she stumbles across a couple of over enunciating maintenance men deep in conversation about some existential rubbish before one of them turns into a zombie and punches the other to death.

No really.

20 minutes in and with her nudity clause fully fulfilled Helen decides to head for the nearest locker room in order to find some clothes suitable for battling the great space undead.

Or at least stand a chance of winning third prize at a Resident Evil fancy dress parade.

And only then if the judges were blind.

As a plus point the 'Helen gets dressed' scene is probably the most dramatic thing you will see in the movie and get dressed she does in a fantastically futuristic ensemble that includes a black boob tube, some saggy arsed spandex cycling shorts, a sad, single child's skateboarding kneepad, a pair of orthopedic boots and a realistic leather effect belt like the one your granddad wears.

Nice.

"Freedom for Tooting!"



She's barely had time to adjust her crotch when the pal-punching zombie from earlier turns up (you can tell he's a zombie because he has red felt pen round his eyes and a mouth covered in strawberry jam) in order it seems to carry on his frankly mundane musings from earlier.

Perhaps the zombiefication is caused by an airbourne virus that reacts to how much bollocks you can spout in a 5 minute period?

Well it'd make as much sense as the rest of the movie.

Helen has no time for chat tho' and quickly dispatches the zombie by shooting him in the stomach.

Twice.

Which as we all know is the only way to kill the undead.

Not wanting the plot to be the only thing that's meandering, Helen wanders deeper into the space station before coming across (if only) a harsh-faced girl who is luckily on hand to explain the plot to those of us who haven't drunk themselves into a coma/slashed their wrists by now.

So pay attention, here's the science part:

It appears that Helen is actually an android and that the space station is the staging ground for a final battle between The Terran Special Forces and the stations very own Allied Airborne Battalion.

Why? I hear you cry.

Well the scientists aboard the station have discovered a process by which they can turn folk (but only the really unattractive and untalented ones by the look of it) into scribble faced zombies.

And if that wasn't enough it seems that the process can also be used to turn them into massive robot dogs.

Obviously the people of Earth need to put an end to such frankly ludicrous shenanigans as soon as.

Makes perfect sense when you think about it.

If the director can't be arsed then I'm not wasting my time thinking up an amusing caption.



Now you'd think that'd be enough to keep even the most dedicated hero busy but no there's more as the scientists have also aimed a massive laser at the planet too.

And not just any old laser oh no, you see this one is specifically designed to create wormholes in time and space.

Tho' why you'd threaten to destroy the only place that you can get subjects for your robot dog/zombie hybrid experiments isn't explained.

Or maybe I'm just too thick to figured it out.

And so begins a race against time - and good taste - for our trim tummied terminatrix as she desperately tries to discover her reason for being onboard and her connection to the project before the earth is destroyed.

"Are you looking at my bra?"


Cue 40 minutes of arse-prolapsing dialogue (including a frankly bizarre conversation about Helen's undies), Nintendo 64 quality 'special' effects, the same animated GiF of gunfire used over and over, random blood splash photoshop effects whenever anyone gets shot and the biggest collection of badly painted pound shop Nerf guns ever committed to videotape.

Imagine Alien: Resurrection remade by a group of fish-eyed schizophrenics with only the contents of their dads garage for props and with a script written in shit by a club footed insomniac in exchange for a collection of vintage underwear ads and you'd only be half way to understanding the whole sorry mess.

But who do we thank for it?

Well that'd be writer/director/composer/actor/binman Andrew Bellware - the man who gave the world the definitive discourse of that famous Dane with his New York based 1997 version of Hamlet (no me neither) as well as such straight to torrent site shite as Prometheus Trap, Alien Uprising and Clone Hunter who with this brings us a film so inept, so threadbare and so mind numbingly awful that it managed to not only give my DVD player cancer but caused me to go blind whilst watching.

And it's not just that it's badly made, ill-conceived and horribly realised but the fact that none of it makes any sense and that no-one involved seems to care.

The 'actors' (save Kurtz) seem to be wandering around in a self conscious, charisma free daze - all that is except the thick-necked blonde space marine lady who delivers her lines with all the skill and charm of a menstruating traffic warden with delusions of godhood and unfortunately the mouth of a stroke victim -  almost as if they've been forced at gunpoint to appear in this travesty as some kind of sub-Saw revenge plot.

Come on....they can't have all fucked the directors dog so god knows what they did to end up in this.

If I'm honest I'm kinda worried at to what punishment Bellware will dish out to me if he reads this.



This makes me really sad.

It's not all bad tho' - no hang on it is actually tho' I will admit that had I not had the misfortune to sit thru this I would have missed how utterly woeful (re: fucking abysmal) the robo/dog/zombies actually are.

I'd try to describe them but a screengrab will have to suffice and not even that can do them justice:

No really, just fuck off.


Yes my friends I'm actually recommending that you do indeed sit thru this steaming pile of cinematic shite just to experience the absolute joy of this perfect example of computer-aided arse first hand.

I doubt you ever find anything else that even remotely comes close.

The cinematic equivalent of being clumsily bum-fingered by a jaggy nailed tramp, Total Retribution is less a piece of low-brow cinema entertainment more an evil endurance test designed by an insane sadomasochist with a spandex fetish.*

But don't take my word for it see for yourself......

You know you want to.


























































































*It still pisses over The Last Jedi tho'.


Wednesday, November 20, 2019

bungle bonce.

What an odd couple of years it's been for us Star Wars fans - sorry, enthusiasts.

With the cinematic abortion that was Star Wars: The Last Jedi taking a massively mis-judged piss over all we hold Holy (namely Luke Skywalker), the actually quite brilliant Solo: A Star Wars Story bombing at the box office and the animated Star Wars Resistance premiering to a wall of uninterested silence, who'd have thought that it would take the other bloke from Swingers (yep, that one, the guy with the beard) to be the sagas savior with the frankly fantastic The Mandalorian.*

So anyway with Episode 9 - The Rise of Skywalker only a month away I've decided to revisit this classic homage to George Lucas' original movie from way back in 1978.

Enjoy.


Os Trapalhões Na Guerra Dos Planetas (AKA The Bunglers In The War Of The Planets, Brazilian Star Wars 1978).
Dir: Adriano Stuart.
Cast: Pedro Aguinaga, Renato Aragão, Carlos (The Jackal) Bucka, Wilma Dias, Carlos (The Kettle) Kurt, Tereza Mascarenhas and some other folk I've never heard of.






Opening with a huge car chase that would put the makers of Top Gear to shame, the 'heroes' of Os Trapalhões Na Guerra Dos Planetas (top urine-stained Brazilian comedy tramps 'the Bunglers') are on the run from what looks like a ton of disgruntled Pikies suffering from narcolepsy, seeing as a huge number of them appear to be driving their cars into rivers for no reason.

It seems that one of the bunglers (the oldest yet least stinky one that wears the piss yellow sports jacket and pervert hat) amusingly named Didi, has slept with the head pikies missis and his friends/family/cousins are in hot pursuit looking for revenge.

After about twenty minutes of 'wah wah' guitar and exploding dune buggies the bunglers hide behind a convenient rock and wait for the bad men to get bored and leave.



"sniff mah coat hen".


That night, whilst the bunglers are sleeping, a turtle with a candle glued to its shell shuffles thru their camp and, in a stroke of comedy genius two of the bunglers think it's a ghost!

Oh how we laughed!

But just as you think it can't possibly get any funnier, the turtle manages to set light to the third, fattest bungler!

While he’s running around in circles going "Woo! woo!" whilst slowly (and probably very painfully) burning alive a passing spaceship touches down near their campsite.

Aboard is the handsome Prince Flik (no doubt referring to his almost Farrah like locks) who tells the four comedy legends (but not the turtle) that he needs their special 'talents' to retrieve a vital part of the fabled 'brain computer' and stop an evil space tyrant named Zuco from destroying his home world.

What? were Torchwood busy? I mean it's not like the plot was too far fetched for them.



A spaceship yesterday.


Our heroes, given the choice between jail time for forcing themselves on old ladies or a trip into space quickly agree and jump aboard Flik's starship where they meet his Red Setter-like, new romantic styled co-pilot Chewbacca (or Dave, I'm not sure).

He (it?) and Flik have an in depth chat in reverse Portuguese before Dave blindly stabs at a few buttons and prepares for take off in a blaze of coloured lights and sweet wrappers not seen since the heady days of Crackerjack.


"Hello Dave?"


Touching down on Flik's home planet, they immediately encounter what looks like an army of hooded midgets attacking a group of desert dwelling Arabs outside a series of stone portaloos.

It's like Disney does ISIS but with fewer beheadings.

Possibly.

Spoiling for a fight the comedy quads rush in and beat the shite out of anyone within punching distance in hyper-slow motion that makes The Matrix 'bullet time' look like the cheap trick it is.

Every time one of our heroes kicks, shoves or stumbles the same clip is shown again and again, accompanied by a hellish 'doo doo' disco score.

It's like mind melding with Jimmy Savile.


Runner up of the Lindy England lookalike contest (ask your mum).


About three days into the slo-mo spectacular the villain of the piece, the evil Darth Zuco appears from nowhere and drags the beautifully big hipped blond bombshell Princess Myrna (who?) from out of one of the portaloos before legging it across the dunes to what looks like a waiting gold vibrator (with wings).

Whilst this is going down (phnar), the warring aliens get bored and leave but not before blowing up one of the toilets with a painted air freshener cum grenade (as in an air freshener disguised as an explosive, not a grenade filled with man yoghurt, tho' that would be interesting) possibly as a political act lost on British viewers.



"Touch my big black helmet".

What isn't lost on viewers from dear old Blighty tho' is the effect that the explosion has, causing as it does four fairly attractive (in a cruise ship entertainer way) Lycra clad ladies to come running out of the smoke like a cheap(er) version of Benny Hill's Hill's Angels.

If that were at all possible**.

The bungling buddies start rubbing their filthy hands with delight but spoilsport Flik starts shouting about having to rescue the princess.




Relax girls....they're single.
And old enough to be your granddad.


Agreeing with Flik (and obviously fancying a wee bit of manass) Didi attempts to drag the others away from the babes with a promise of letting them borrow his hat.

Seriously, why would I make this shit up?

Things get very tense before a compromise is reached and the ladies offer to go with them to the local space disco to look for clues.




Let's be honest tho'...it's still more entertaining than this shite.



Arriving at the local nite-spot (which looks to all intents and purposes like Barry Noble's in Nottingham circa 1985) the bunglers manage to persuade the DJ to stop polluting the airwaves with farty sci-fi warblings and play some hi-energy disco instead but when the alien clientèle begin to 'get down' to the hot tunes the jolly jokers start beating them up.

Just like Dudley then.

For Didi this seems a step too far, he leaves the disco to buy a space laser gun, accidentally murdering five innocent bystanders in cold blood whilst 'testing' it and blowing up Flik’s landspeeder along the way.

If that wasn't enough, in a fabulously misplaced piece of slapstick he finds he has no money to buy the gun so he shoots the salesman dead and steals it.

Ha ha ha.



A normal Saturday night in Dudley.


Now the film begins to unravel and self destruct into an almost unwatchable display of violent comedy, giant birds and poverty row effects as our merry band decide to hit the trail in search of the princess and the evil Zuco.

All manner of random threats are thrown at the group from invisible monsters to flying oranges (yep....killer fruit......oh my sides) via a badly matted 'giant' spider and the aforementioned bird beast.




"Pluck off!"


Every time they encounter a new peril everyone throws their arms in the air, jogs on the spot whooping then runs away.

And I do mean every time.

Every.

Single.

Bloody.

Time.

For around half an hour.


Eventually (and obviously bored waiting for our heroes to discover his lair) Zuco sends them an open invitation to his house to exchange their half of the computer (admit it, you'd forgotten about that hadn't you?) for the captive Myrna.

What follows is a series of bluffs and double bluffs that would confuse even a very unbluffable (is that even a word? cos it should be) man.

The outcome is that Didi ends up in a box (not a coffin unfortunately) and Flik is left holding a green painted dwarf in a frighteningly lifelike Myrna mask.

Everything is now set for the final battle.

Thank fuck.

Didi scores first blood by freezing Zuco and then spending twenty five minutes dancing with his frozen body, popping a selection of funny hats on him, booting him up the arse etc. whilst his buddies fight for their lives against an elite squad of enemy shock troops.

Seriously tho' it's not as exciting as it sounds.

Just as the good guys break thru' the enemy ranks Zuco thaws out and tells everyone that Myrna is dead.

Laugh now.




It seems that whilst Zuco's scientist were making the mask for the dwarf to wear they accidentally disintegrated her.

No seriously.

Flik just shrugs his shoulders and sighs before pointing out that under his planets laws Didi’s squeeze, the seductive Loya must take Myrna’s place as Flik’s betrothed.

She leaves Didi’s side and gets straight down to business with Flik, leaving poor Didi to travel back to with nothing to look forward to but a tearful wank and a Pot Noodle.

Which is a wee bit depressing really.

Duck off.



What can one possibly say in regard to the almost perfect example of high brow Brazilian comedy that is Os Trapalhões na Guerra Dos Planetas?

As an introduction to the many fascinating aspects of Brazilian culture the film is a Godsend, featuring as it does the countries three major obsessions; dancing badly, awful polyester jackets and fighting.

Which is three more than Belgium is famous for.

And what of the comedy greats that are/were The Bunglers? 

Well believe it or not these comedy cnuts starred in over 15,000 films in the 1970s and 1980s, becoming Brazil's biggest export (outside STD's and child labour that is) before being hunted down by the UN war crimes committee in 1997 and sentenced to death by firing squad  in late 1995.

So if you enjoyed their hi-jinks in this, their biggest grossing (and most expensive) movie and don't mind laughing at dead folk, there should be enough online to keep you going for a few months at least.


The Bunglers: They've got something to put in you.



The rest of you can sleep soundly knowing I watched it for you.

You lucky people.












































*I assume this is the case from what I've heard, it's not available in Europe yet so I wouldn't know for sure, pirating is bad don't you know.








**Obviously I don't count the wonderful Nola Hayes in this blanket statement because as a 12 year old watching Benny Hill she was by far the least scary of the bunch and not at all cheap.




Sunday, November 17, 2019

buio vista sociopath club.

Have absolutely no idea why but all this talk about Prince Andrew being a nonce has reminded me of this movie.

I even had a dream about it last night but with Randy Andy replacing Kieren Canter and Sarah Ferguson essaying the role of Jan.

Which I think probably say more about me than anything else.



Buio Omega: Beyond the Darkness (AKA Blue Holocaust , The Final Darkness. 1979).
Dir: Joe D'Amato.
Cast: Kieren Canter, Cinzia Monreale, Franca Stoppi, Anna Cardini, Lucia D'Elia and Sam Modesto.


"All right little boy, no one will touch your baby doll".


Welcome one and all to the sad, mad and thoroughly bad world of the slightly intense and incredibly lonely freak boy Frank Willer (Eroticoblues flaxen haired Canter) who  since the recent and not to mention mysterious death of his beautiful partner Anna (the lovely Monreale from The Beyond who bizarrely enough owns a piece of my artwork - small world) spends most of his days skulking around his huge villa with only his frightening taste in late seventies fashions, a pair of patent leather Kickers and his Mrs. Doyle-like, potato headed and onion odoured housekeeper Iris (stern faced Stoppi, star of Emanuelle fuga dall'inferno, The Other Hell and the underrated Bestiality among other things to gruesome too mention here) for company.

Being too rich (and too wet) to work Frank spends most of his - non whining - time either attempting to perfect his hobby (which is taxidermy, this may become important later) or suckling on Iris's left breast as she strokes his hair and calls him "Her little Frank".

Just like your mum does when you go to visit.

Stoppi: A mooth made for shite-in in.


If you think that's a wee bit strange - or even a little arousing - I wont judge - just wait till Anna's funeral, when just before the ceremony Frankie boy sneaks into the funeral home and quietly injects her corpse with an embalming liquid, either because he's having the service on the cheap or that he has other plans for his dead missis.

Which do you think?

Unbeknown to Frank, Mr. Kale (flash in the pan/cum in my pants Modesto) the friendly neighbourhood funeral director sees the whole thing.

Gah.

Obviously not wanting to spoil the funeral he keeps quiet and heads off home for a drink or three which allows Frank to sneak (he does a lot off that during the film) back that very night and exhume Anna's still fresh, yet slightly stiff body, bundle it into the back of his Ford Transit and head home.

But you know what they say about best laid plans and all that, 'cos the journey is a disaster of Last of The Summer Wine comedic proportions with Frank first having to endure a flat tire followed by a run in with the police before finally coming across an obscenely permed and squint eyed 'cock-er-nee' (the dubbing director must have been either very drunk or very bored) food obsessed hitchhiker named Jan (D'Elia) who won't take no for answer.

Or by the state of her that bag of chips away from her mouth.

Falling asleep in the van after one too many pasties, Jan is oblivious when Frank  drags Anna's corpse into the basement and then slicing her open from boob to bush to remove her vitals before finally sucking her brain thru' a tube up her nose.

Which is fairly lucky really because no doubt that greedy bitch Jan would've probably tried to scoff it all.

His luck can't last tho' and just as he's popping Anna's glass eyes into her exquisite skull Jan stumbles into the basement - obviously drawn by the smell of fresh offal - to find Frank covered in blood, sweat, shit and shame whilst bending over the corpse.

Jan screams but as she turns to run the friction of her thighs rubbing together causes a bucket of intestines to fall on her, giving Frank enough time to beat her to death with a rolled up copy of Stuffed Bird Monthly.

Which is better than she deserved if I'm honest.

Which I am.

Always.

Eamon Holmes and Kate Garraway's Strictly Come Dancing routine failed to impress a stern-faced D'Arcy Bussell yesterday. Or was that today?



Iris, no doubt at a loose end after polishing off the china (and Frank) is soon on the scene to help tidy up the mess before helping Frank to carry Anne to the bedroom, dressing her in a lovely nylon nightie and painting her finger and toe nails a luscious deep red colour.

Which actually improves her look no end, complementing as it does her massive blotchy chin.

As a new day dawns Frank sets about his daily routine as if nothing untoward had happened.

Which is probably a good thing seeing as her has an urgent appointment with  Mr. Kale who wants his baboon stuffing.

But Kale has other things on his mind.

And it's not discovering the secret of how baboons manage to keep their arses so red and peachy.

You see it seems that word has gotten out that someone stole Anna's corpse and Kale suspects Frank of the crime and in a sneaky plan that Columbo would be proud of arranges for a mutual friend to discuss the project whilst he sneaks into Frank's basement.

Alas Kale doesn't come across any corpses - he's probably still spent from doing that at work on slow days -  but does find a necklace belonging to Anna.
Spookily it was the one she was buried in.

Tho' Kale ignores this fact and goes home.

No doubt to search T'internet for ape porn.

He must have really loved that baboon.

Boiled onions!


We've no time for monkey sex tho' (which is unusual for D'Amato) because Frank still has a body to get rid of.

Waiting till nightfall (and till his loyal housekeeper has done the dishes) he gets Iris to pop Jan's body in the bathtub - don't worry, it's a bloody big bath - and cover it in acid before pulping the remaining lumpy bits with a hammer.

The sight of Iris taking such pleasure from her work (well it's either that or the smell from her breath) is enough to make Frank vomit but luckily Iris is more than willing to 'take him in hand' and make it all better.

Which in case you found that too subtle means she gives him a handjob whilst pulling a face like your nan when she wins at bingo.

Cardini: your dad did. Twice.

The next day Frank understandably decides to go driving to help clear his head.

And hopefully get rid of the memory - and smell - of Iris' beefy fingers.

It's not long tho' (it is a fairly short movie) before his mind is completely cleared of all things murder and old lady sex related thanks to the sight of an ample arsed, poodle haired jogger sitting at the side of the road suggestively rubbing her swollen ankle and Frank, being the gentlemanly type immediately offers to take her up the villa for a thorough bandaging.

The woman (Cardini coming across like a slightly saucier version of top 70's teevee star Susan Stranks and one of the few actresses to get a 4 out of 5 'nice feet' rating on Wikifeet) obviously attracted to Bri-Nylon leisure wear, accepts his offer.

No sooner have they arrived at Frank's pad than the pair of them are kissing, cuddling and engaging in general fondling on the sofa and Frank, happy to be finally pulling someone fairly attractive (as opposed to dead old or just dead) drags his new lady friend off to the bedroom for a quick shag.

You remember the bedroom don't you?

You know the one where he keeps his dead wife.

Everything is going swimmingly till Frank decides, just at the moment of entry, pulls down the bedsheets revealing Anna's corpse.

The juicy jogger turns her head and upon seeing this completely different kind of stiffie leering over her begins to scream.

Frank has no choice but to kill her.

And stupidly before he's even climaxed.

Luckily Iris is on hand to (eventually) clean up both messes.

"Sssssh! You'll wake me mam!" - That's you losing your virginity that is.


Obviously jealous at the thought of Frank shagging someone his own age (and someone who's breathing) Iris decides that the best course of action would be to get rid of Anna's body and persuade Frank to marry her, promising him a lifetime of vinegary hand-jobs and leek soup.

Frank not too surprisingly isn't too keen on getting rid of Anna but scarily agrees to marry Iris (the sick fuck) and even offers to make her the mistress of the estate.

If it were me I'd rather carry on shagging the corpse.

Any corpse.

Even your nan's.

Again.

Desperate to keep her hands (and black toothed mouth) on Franks manhood she begrudgingly agrees, promising to look after both Frank and his 'baby doll'.

I've already done a 'mooth shite' caption.....damn.

After excitedly buying a new dress and washing her bun Iris invites her family over to dinner in order to celebrate her engagement to Frank but things get off to a sticky start when the groom to be storms off in a huff, locking himself in his bedroom with Anna, professing his undying love for her whilst gently stroking her golden hair.

Which is kinda sweet if I'm honest.

Annoyed at her fiancés no show, Iris storms upstairs in an attempt to finally persuade Frank to get rid of Anna causing our hero to finally see the error of his ways.

By that I mean agreeing to shag a pensioner, not sharing a bed with a corpse obviously.

As the argument becomes more heated Frank realises that punching Iris in the face whilst calling her a dirty old whore isn't really going to help matters and the pair decide to call it a day.

Well Frank decides to call it a day, Iris on the other hand has gone totally fruitloops and she's decided to call it a strawberry.

Whilst all this shouty stuff's been going on, Mr. Kale (remember him?) has been keeping his beedy eye (as opposed to the weeping squint one) on Frank and all the creepy goings on at the villa.

Between perving over primates obviously.

But just when Frank (and the audience) don't think the situation can get any worse (or convoluted), who should turn up but Anna's never before mentioned twin sister Elena (Monreale again) in order to pay her respects to Frank.

She was obviously too busy getting her nails done to attend the funeral.

In reality she's only turned up to give the director an excuse to send everyone off the deep end and into the murky waters of mentalism in preparation for a blood soaked climax.

So will Frank come to his senses and end up marrying Elena?

Will Iris ever wash?

And more importantly will Kale ever get his hands on that stuffed baboon?

Answers to the usual email address.




The late 70’s to mid 80’s was a prolific time for the European horror genre and is seen by many as the career high point for such directors as Lucio Fulci, Dario Argento, Luigi Cozzi and Umberto Lenzi, their work constantly pushing back the boundaries of cinema with increasingly bizarre plots and simply lashings of gore in such masterpieces as Zombie Flesh Eaters, Tenebrae, Contamination*, The Beyond and Cannibal Ferox.

But the genres most underrated (and under appreciated) director must be the late great Aristide Massaccesi  (AKA Joe D'Amato, the man I share my birthday with).

Best known as a soft core porn director, he also contributed to the Euro-horror genre with such ‘classics’ as Anthropophagus: The Beast (starring Mia’s one eyed, ex cab driver sister Tisa Farrow) before wowing audiences worldwide with his fantastic forays into goreporn Erotic Nights of The Living Dead, Emmanuelle and The Last Cannibals (both starring dusky eyed beauty Laura Gemser) and  the subtly titled Porno Holocaust.

But perhaps his most accessible (and definitely least sordid) work is the wonderful Buio Omega: Beyond The Darkness.

 
Prince Andrew - Prince Albert not shown.





With it's genius examples of Eurocentric 'panto acting, surrealist dubbing coupled with scenes of uncompromising violence and cheap gore the film stands up as D'Amato's most accomplished movie.

For one thing it has a vague semblance of a plot (usually his movies go: opening titles, shagging, murder, shagging, talky bit, shagging, misplaced 70's synth score, murder, end credits), a particularly strong lead performance from Kieren Canter (the only one he ever gave if I'm honest), a fantastically evocative score from Goblin, adequate - tho' barely - special effects and some even genuinely creepy moments.

Tho' it must be said that the best of these are when Iris attempts sexiness.

Gah indeed.


Insert amusing caption here, unlike the 8th in line to the throne who'd probably just insert his engorged member. Violently.

 

But just imagine tho' how much greater still it could've been in the hands of a more capable director (the bloke who directed Lords of Salem perhaps or Eli Roth?)**.

I'm sure there's a really bizarre alternate film universe where this is seen as a definitive Eurohorror classic, a kind of Italian Psycho or Peeping Tom. 

As it stands we have a sometimes tense, slightly vile but entertaining movie with a heart as black as Iris' tightly curled pubes. 

And for once D'Amato resisted using actors with porn mustaches, frightful chest wigs and a bad case of genital warts, for which we can all be thankful.































*OK maybe not Contamination. 


**For my American readers this is what we call irony.