Sepulchre Productions moves forward with it’s first in-house film. right now, the story is being looked over by several script writers, and hopefully writing will begin soon!

Watch Man Behind the Sun expecting something along the lines of a Chinese Ilsa movie and you might be in for a surprise: this film has none of the camp qualities to be found in most POW exploitation—it’s pure cinematic harshness from start to finish with not a buxom leather-booted commandant in sight.

Set at the end of WWII, director T. F. Mous’ harrowing tale centers on Camp 731, a medical center where the Japanese attempt to perfect bacterial weapons, using Chinese prisoners as guinea pigs in their nasty experiments. Mous’ objective is to reveal to the world how his people suffered at the hands of their enemy, and in this he totally succeeds; the atrocities that are depicted in Man Behind The Sun are completely sickening and disgustingly convincing.

From the moment that a woman’s baby is smothered in snow by a soldier, to the depressing, downbeat finalé in which the camp is razed to the ground by a retreating Japanese army (after shooting and burning all prisoners), this unflinching portrayal of man’s inhumanity to man is a total gut-wrencher and certainly not recommended viewing for the easily offended.

In this film, people are treated worse than animals and the ‘experiments’ they have to endure are shown in every nauseatingly graphic detail: a woman has her arms frozen and then dunked in hot water, allowing the flesh to be easily ripped from her bones; a prisoner is placed in a decompression chamber resulting in his intestines erupting from his body (a scene rumored to use a real body, but which, according to the director, was actually achieved using special effects); a boy is tricked into being the subject of a live ‘autopsy’ (cast-iron stomach necessary for this bit—real autopsy footage was shot for this scene!!); and a group of prisoners are ‘crucified’ in a field and used for target practice by Japanese bombers.

On top of all this there are also two moments of animal cruelty that will have pet-lovers up in arms: a cat is thrown to hungry rats and is eaten alive (not sure if this was done with FX or not, but the cat doesn’t look too thrilled), and a load of rats are also set on fire (now this is definitely real!!).

As you have probably gathered, Man Behind The Sun is hard going and should be watched with caution. However, it is a well made film that does what it set out do do—educate viewers about the horrors of war. It’s a hard one to rate, because it is such a grueling movie and can’t really be described as entertaining, but I’ll give it 8/10 for being so genuinely disturbing.

Dead snow is a foreign film where Hitler’s horrors come alive !! It’s based in Norway where a group of students vacation at a cabin and are attacked by SS zombies. In WWII the zombies were driven out by the towns people and then fled to the mountains. There is a decent amount of gore splatters, but a wicked amount of classic zombie movie references !! In this comedy the students even set their cabin on fire with molotov cocktails. There is even a scene where they complain about no cell phone connection even though there shouldn’t be any cell phones considering the time period, but alas it is an rediculous horror comedy ! ”The bitch hung upon on me.” I give it 5 out of 5 SS Nazis ! Necronicki.org

What a hilarious film this is. There are basically 2 main characters in the film. One is Aylmer, a 12 inch worm who needs to feed on brains (preferably human) to survive. The other is Brian, a young man who becomes addicted to a drug that Aylmer injects into his brain. During this drugged state, Aylmer uses Brian as a host to find victims so that he can consume their brains.

The special effects are decent, especially during the kill scenes. Unfortunately, most of the death scenes are very repetitive. They consist of Aylmer leaping from some hidden location and attaching himself to a victim’s forehead, where he munches through their skull into their brain whilst they flop about in agony. There is one notable exception however:

In the film’s best sequence, Brian has just been drugged by Aylmer. He stumbles into a club suitably named “Hell”. There he meets a pretty but incautious hooker. They dance for a while. Brian, stoned out of his mind, is lured by the girl into the club’s basement. Brian begins to pass out and the hooker leans him up against a wall. She grabs Brian’s crotch and remarks “feels like you got a real monster in there” not knowing of course that the “monster” is in fact Aylmer hiding in Brian’s crotch area. Excited, the girl decides to perform oral sex on Brian. She soon gets more than she bargains for. She gets down on her knees, unzips Brian’s pants, and just as she opens her mouth, Aylmer burst from the pants and into the girl’s mouth. Aylmer forces himself down the girl’s throat, and she basically chokes to death as Aylmer burrows through the back of her throat into her skull.

After that the rest of the film is a bit of a let down (how could it not be?) but there are still some good sequences, including one scene where Brian pulls his own brains out through one of his ears (very gory). The acting throughout the film is quite campy, and the music is actually very good.

The ending is rather down beat as virtually every character in the film dies, with the exception of Brian’s room mate brother. There are also very few like-able characters in the film. Vicki Darnell, who plays the hooker, is one of the few sympathetic (!) characters in the film. Props to her for putting up with this perverted director’s crap, as I’ve heard shooting the scene mentioned above was a nightmare for the actors involved.

Overall it it’s a pretty crazy and enjoyable film.

From here: http://www.imdb.com/user/ur39201974/

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!

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.

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.