To be honest, I absolutely love trash like this! Maniac Cop is a film that clearly isn’t too caught up with trying to establish itself alongside the more professional efforts of the horror genre, and instead simply revels in it’s B-movie status. This gives the film free reign to do whatever it wants to do, as it doesn’t have to worry about coherency or logic and this helps it massively as the final result shows. Actually, surprisingly enough; this is a rather professionally handled B-movie and many of the reasons why it works are down to things like atmosphere and characters, which are the things that the film isn’t supposed to be bothered about. The plot is well worked also, and the way that the mystery pans out is exciting in all the right places. The story follows a problem in New York. Innocent citizens are turning to the police for help as usual; but one officer isn’t bowing to the law, and has taken it upon himself to dish out justice his own way. This maniac cop is exterminating the local population, and it’s up to framed copper Jack Forrest and his mistress Theresa Mallory to save the day!

The way that director William Lustig portrays the New York streets gives this film a lot of it’s power. It’s gritty, in the same way that many of the seventies cop thrillers were and this, when combined with the thick eighties trash crust, is what makes this film a winner. The scenes that see the maniac cop taking people out are fiendishly funny, but also quite shocking. The police are looked up to in most societies, and it would be a huge problem if one of them were to start dishing out the wrong kind of law themselves. Scriptwriter and B-movie god Larry Cohen seems keen to portray this too, with much of the action taking in the panic that previous events have caused. One of this film’s main assets is definitely the presence of Evil Dead’s Ash, Bruce Campbell. Campbell isn’t quite as over the top as he was in Sam Raimi’s classic trilogy – but he’s playing a different character and just seeing him is a good reason to see this film. He is joined by fellow B-movie actor Tom Atkins, as well as Laurene Landon and Robert Z’Dar, who is perfectly cast in the title role. This isn’t a film that will please fans of serious movies – but if you like your silly B-grade films, you’ll definitely like this!

O Doce Avanço da Faca (2010) Short from Sepulchre Productions on Vimeo.

Since the ’90s, Petter Baiestorf established himself as a big name trash movie offender with his national Cannibal Movies. And it is very good to see that after nearly 20 years after his first film, he continues in the same spirit. The Sweet Feed Knife has everything we have learned to love: caricatured characters, bloodshed, deaths rough, strong critical irony, and a lot of sluts.

Arrombada – I Will Piss in Your Grave (2007) Short from Sepulchre Productions on Vimeo.

Another mid-length movie from Baiestorf, this one his homage to rape-and-revenge exploitation grindhouse. A judge with a Hitler moustache and his entourage of priest and doctor rape a girl which they forced a drug-dealer to kidnap. Some nasty, trashy rape Baiestorf style, until the girl gets her high-heels on and gorily takes out her assailants in the nastiest ways imaginable while the compulsive perverts get off on the nastiness. This is followed by some Guinea Pig disemboweling, necrophilia and cannibalism.

Directed by the duo Yudai Yamaguchi (Battlefield Baseball) and Jun’ichi Yamamoto “Meatball Machine” is apparently a remake of Yamamoto’s 1999 movie with the same name. I doubt I’ll ever get a chance to see the original so I’ll just stick commenting on this one. First of what is “Meatball Machine” ? A simple in noway pretentious low budget industrial splatter flick packed with great make up effects and gore. It’s not something you’ll end up writing books about but it’s nevertheless entertaining if you dig this type of cinema.

“Meatball Machine” follows the well known plot. Boy loves girl but is too afraid to ask her on a date. Boy finally meets girl. Girl gets infected by a parasitic alien creature that turns her into a homicidal cyborg. Boy, in turn does also transform into said thing, and goes on a quest to save his love. Will he succeed? Who gives a damn, as long as there is carnage and death I’m satisfied.

The plot is simple, relatively clichéd but it does it’s job well enough setting the movie’s course straight forward into a bloody confrontation between the two leading characters. There is a subplot focusing on how the parasite that infected the girl came into to their lives. Acting is what you would expect from a no budget splatter film. It’s not exactly painful for the ears but it’s not exactly good either.

The movie’s main attraction besides the violence and gore (like I haven’t mentioned that enough already) are the cyborg designs. Done by Keita Amemiya who’s work in creating outlandish creatures and costumes for both movies and video-games is well known. The necroborgs as they are called in “Meatball Machine” look stunningly detailed. Without the usage of CGI, Amemiya’s designs are a breathtaking fusion of flesh and metal, painfully awesome in their appearance. Able to transforms various parts of the body into cool weaponry such as saws, rocket launchers, blood-firing shotguns and so on and so on. Though you can easily recognize the cheapness of the film, necroborgs are A-movie class.

“Meatball Machine” is “Tetsuo The Iron Man” mixed up with “Alien” all done in low budget and extra ketchup mode. It’s an immensely entertaining film that disregards modern special effects and proves that the splatter genre is still alive and kicking.

Vadias do Sexo Sangrento from Sepulchre Productions on Vimeo.

An independent movie, as trashy as it is a love story, a love triangle that becomes bloody with the arrival of a fourth character: a serial killer who collects vaginas. A lesbian couple is pursued by a bizarre betrayed lover. Blood and Sex in the tradition of films such as Garbage Mouth 80, with cinematic scenes of scatological intensity.

Director: Petter Baiestorf

Director J. Michael Muro’s opus is also his only directorial credit. The rest of his credits have been either as a camera operator or cinematographer. It is so utterly amazing how and even that this movie got made. This movies started shooting in 1982 and took years of starting and stopping to complete, with a cast consisting of both thespian-trained and complete newcomers (think Bicycle Thieves).

It is gritty at the same time it is vivid. It is New York in its transitional phase during the 80’s. The director chose Long Island City on the other side of the East River in Queens as the major location. This area was one of the last remnants of New York City’s industrialized past. It is an area of warehouses and brick, the homeless, prostitutes, pimps and the criminally insane. With the choice of eerie electronica as the musical background, the time frame could easily be placed in a post-apocalyptic environment where everyone struggles just to survive. It is interesting how this “lifestyle” is juxtaposed right next to the “civilized/real” world. The real world intrudes into this hyper-real, deteriorating steel jungle. I can’t help but be reminded of Robot Holocaust in terms of the look (another movie filmed deep within the power station, in the shadows of New York) and Evil Dead/Dead Again in its spirit.

In a junkyard, two homeless brothers survive the rigors of the street. Introduce a $1 alcohol called Viper, which is like Drano in color and result. This is the other major recurring element, Viper. We follow the trail of the alcohol, like money or a disease/virus passing between various people. I knew there is something intrinsically wrong with with well-drinks at bars. $1 drinks have to be outlawed. In to the mix add a crazy selection of characters : a steroid-laden gung-ho cop, the criminally insane and violent ex-Vietnam vet turned hobo-overlord, a colorful mixture of homeless carny folk, the mob, a gas-mask wearing shoplifting hobo, a bald sweaty lecherous junk yard owner and the greedy alcohol peddler.

This movie is filthy enough to drive you to shower with a pumice stone and rubbing alcohol, and is hilariously graphic. Everything from hand-to-hand combat to decapitation and from castration to necrophilia. Add in full frontal nudity, exploding heads and acid peel (think of a rainbow version of the death from another 80’s cult movie, The Stuff) for an extra layer of added grime. It rubs the dirt on it’s skin. It does this whenever it’s told. It rubs the dirt on it’s skin, or else it gets the hose again.

As I stated earlier, this movie make its home in a vivid Cinema-scope Twilight Zone reality. A trans-realistic place where fate plays a role even on the dog-eat-dog and chaotic fringes of society. This is a place where the law or civilization has a minimal effect. It is a base and much reduced existence. There is no silver lining in this universe. It’s a caste system consisting of levels of blue collar rejects.

It is a tribute to the people and gung-ho independent film making that was and is still possible in New York City (in the same category as Mean Streets, Abel Ferrara’s Driller Killer, Toxic Avenger and other productions from Hells Kitchen’s own Troma). Watch this one solo or with a recommended wingman. Whatever you do, get your tetanus shot, drink orange juice and eat some Special K in preparation. It sure is a dirty world out there.

Everyone who I have spoke to about A Serbian FIlm has overreacted about the word RAPE. The main character, Milo, is a retired porn star who dabbles back into the business for money after having an established family. His wife introduces the idea of being just fucked and his son watches one of his past films. After that, he runs into his former colleague Layla who introduces him to a powerful porn figure, Vukmir. Vukmir uses drugs to convince him to participate in an “art film,” which is an art snuff film. The director Srdjan Spasojevic created this film as a parody to the political correctness of the Serbian government and the new world. This shocks the audience and shows how freedom of art has been ripped from our very souls and as a result the film has been banned from quite a few countries. Spasojevic’s gore tantalizing scenes include a baby rape scene, a hate fuck rape scene of a whore, and even watches a tape where he is sodomized by Vukmir’s security guard. Over all, it’s a vicious sex slave cycle, which in consequence Milo ends up fucking his family including his son. I give it 3 out of 5 raped babies.

Nightfill (2005) Short from Sepulchre Productions on Vimeo.

In this Australian Short, a new Nightfill (we call ’em “Stockers”) employee finds himself battling for his life against the zombies that have arisen due to contaminated milk!

Luke Jago: Director and + Producer
Zak Hilditch: writer

“A medical student sets out to recreate his decapitated fiancée by building her a new body made of Manhattan street hookers.”

Frank Henenlotter’s Frankenhooker (1990) is a horror comedy starring James Lorinz as Jeffrey Franken, a young man who is extremely interested in medical studies and becoming a doctor. He performs creepy experiments in his house while his parents are little concerned as they think their son is little weird, understandably. Soon a horrible but incredibly comical accident happens to his girlfriend Elizabeth, so Jeffrey takes all the body parts he can in order to re-build his girl. But he needs various body parts in order to complete his love and he develops a drug which makes its users explode. He goes to the streets searching for prostitutes and you know what he wants from them. He gets the parts, but will the new Elizabeth, Frankenhooker, be the same as she used to be?

This film is a must for lovers of B cinema and films which mix horror, gore and comedy. Franken’s character is very mad as he talks alone all the time and inserts a power drill into his head everytime he is about to have some nervous problems under pressure. Usually when characters talk all the time without reasons in films it just shows how bad the script is, but in this case, the talking (especially for himself) is normal for this kind of crazy doctor and thus it doesn’t feel irritating and bad choice.

Henenlotter’s other films like Brain Damage (1988) and Basket Case (1982) are so fantastic as they mix humor and horror so uniquely. They are creepy and very funny (and clever especially in Brain Damage’s case) at the very same film. Frankenhooker isn’t an exception and the first lawnmower scene convinces the viewer what will the film be like. There are many severed limbs and body parts, but they don’t seem repellent as the tone of the film is so tongue in cheek and not wicked. The scene in which some ten hookers EXPLODE is as funny as possible, but not that gory, since the film had to get an R rating. It is even funnier now as crimson doesn’t fly all the time, they just explode!

The mutants and attached body parts at the end are really creepy and almost nightmarish, and reminded me of Brian Yuzna’s Bride of Re-Animator which has similar monsters. The effects work in Frankenhooker is fantastic all the way, and it all is now perfect, and wouldn’t work anymore if done with computers or CGI. The pace is fast all the time and the viewer doesn’t get bored. The Frankenhooker herself is also pretty outrageous and very deadly a hooker! The lady who plays her part is very talented with all her face expressions and movements. I like Basket Case and Brain Damage even more, but still Frankenhooker is a little classic by this talented and mad film maker genius.

Blood Money from Sepulchre Productions on Vimeo.

The first ever feature from Karl Kneeling! Sorry for the poor quality, but it’s from a home video camera from 1998!

Synopsis:
A tale of two hit men. Their work leads to a surprise betrayal.