Greetings everyone!
Firstly I would like to apologise for the apparent lack of effort on the site recently, however I can assure you that plenty of effort has been going on...just not here!
We have been building a new site and it's almost ready to go, we are just fighting with domain registrations to get tamingentertainment.co.uk pointing to our new host.
In the meantime please bounce over to the new site and have a look :) We are currently going through a process of updating the old posts to the new format so at the moment the material is thin on the ground, but we do have some new posts as well as some in-depth articles to put up shortly.
Thanks for your support and continued reading!
~Shiv
Wednesday, 2 April 2008
Quiet Time and Site Move
Monday, 4 February 2008
Darkest Hour - Live @ The Barfly, Brighton 24/01/08
Bursting forth from the speakers comes the ethereal death metal destruction of Darkest Hour, as they lay waste to all ear drums that stand before them. These and other such clichés will be deployed to describe just how jaw-dropping Darkest Hour are.
They open with ‘Doomsayer’, the first song from the latest offering, ‘Deliver Us’. The use of a sombre, clean, picked guitar intro destroyed by a display of uberheaviness – vocals roaring, guitars shredding and double kicks pounding – is well worn, but not without a reason: it is effective.
It continues on. Most of the songs are from ‘Deliver Us’: ‘Demon(s)’, ‘Sanctuary’, ‘An Ethereal Drain’, etc. All sound blistering, managing to fill up every space in the mind. They diminutive crowd receives them appreciating, whipping them into a frenzy that eventually bursts the gathering into two halves. A no mans land is taken up by a group of testosterone-filled youths doing a bizarre hybrid of folk and hardcore dancing.
Being on Victory records the crowd seems a strange joke. The trendiness of the record label means they attract kids who would, perhaps, not normally go to a death metal gig. It may also be a hindrance, for metallers seem to fob them off as being in a ‘hardcore vein’, and therefore ‘less’. Which is sad. Fools!
A key factor that helps sets the band apart from most has to be the astonishing ability of drummer Ryan Parrish. His feet never seem to stop, only ever seeming to vary between different types of driving beats. His fluency with the drums, the snare scatter shots and fills drive everything keeps everything going and adds to the ethereal feel of the band. Sometimes muddied by the album sound there are no such problems tonight, Parrish is on form and as brutal as anything. He seems to know the perfect drum beat for every riff the guitarists can come up with.
Guitarists Kris Norris and Mike Schleibaum trade riffs effortlessly, delivering their brand of melodic death metal and occasionally throwing in the odd solo and an excellent party trick: synchronised sweep-picking. Add to this Paul Burnette’s bass playing, giving everything a pronounced groove, full of slides and held notes (it’s very nice to be able to hear a metal bassist, too).
John Henry, the vocalist, befriends the crowd and turns it into a fun gig. Looking at ease and not really caring at the small number of people at the gig, he plays to and enjoys the audience: cooing them forward, encouraging dancing, headbanging and stage invasions and being rewarded with circle pits with ‘With A Thousand Words To Say But One’ and again for set closer ‘The Sadist Nation’.
It may be a small crowd, the set may consisted of songs mainly from ‘Deliver Us’, and there may be some macho bullshit going around, but the sound is clear, the band is on form, Henry coxes and charms the crowd well. What more could you want? There’s no other word for it: awesome.
Monday, 28 January 2008
Not Just Music ... M&S Music
What’s the most annoying thing about commercial TV? What turns a twenty-two minute program into a half hour program? Or a fourty five minute program into an hour?
Commercials. Yes, commercials. The bane of watching non-BBC tv, the bane of listening to non-BBC radio, the bane of public broadcasting of any sort for those trying to enjoy a program about Communism, perhaps. More annoying than listening to the morons on the radio witter on about nothing. I’d rather listen to Chris Moyles than an advert. Especially an M&S advert.
And that is what the music industry proposes to do, or at least some of it. Qtrax or We7 are promoting one of the ideas at the forefront of how to rebalance things. It seems a strange situation, since if this comes into place, the record labels won’t even be the people to stump up the initial advance the band needs to record, make a video, live, tour and promote. They’ll be pointless, well… more so.
Starbucks might've be ahead of the time, having their own record label already (Paul McCartney is on it). “Not just music. M&S music.”
That is their solution: put adverts on songs and albums. You want to listen to some System of a Down? Gotta listen to a Burger King advert first. How about some Clash? Natwest. Rage Against The Machine? Currys. You get the idea. (Note: Not necessarily those companies)
How would one describe the music industry? Manager of some of the greats, Simon Napier-Bell, recently wrote an article for the Observer Music Monthly that attacked every level of record industry, but especially the majors. In the article, he says things such as “These days, an artist working closely with his manager can ensure that everything is done in the artist's best interest. Majors have never done that. And never will.”
Which is the positive side of things. The sad thing is that it doesn’t tackle is the biggest problem with all the new suggestions of new deals within the industry: what about new bands?
This new system would just transfer money to majors, leaving the bands as helpless as ever. The industry will still be run by accountants, or worse … people who are concerned by ‘corporate image’, who could refuse to fund even the slightest off-message band, like the Dixie Chicks.
If a nice band like the Dixie Chicks, where's the hope for a band like Rage Against The Machine? Or any heavier band, anyway? Would McDonalds like to be assosiated with The Dead Kennedys? I'm sure Jello Biafra wouldn't like that, but it's not his choice anymore. Different face, same game.
And, when a company like Qtrax says they are “fully embraced by the music industry", you know it’s a rotten deal for everybody else. And, anyway, it's not as bad as it seems. And it never seemed that bloody bad to begin with.
http://music.guardian.co.uk/news/story/0,,2248118,00.html
http://music.guardian.co.uk/news/story/0,,2248278,00.html
Tuesday, 22 January 2008
The Time Machine
by H.G. Wells(New York: Bantam Classics, 1991)
Paperback, 115 Pages, Science Fiction
ISBN: 0553213512
From the Cover: When the Time Traveller courageously stepped out of his machine for the first time, he found himself in the year 802,700 – and everything had changed. In another, more utopian age, creatures seemed to dwell together in perfect harmony. The Time Traveller thought he could study these marvelous beings – unearth their secret and then return to his own time – until he discovered that his invention, his only avenue of escape – had been stolen. H.G. Wells’ famous novel of one man’s astonishing journey beyond the conventional limits of the imagination first appeared in 1895. It won him immediate recognition, and has been regarded ever since as one of the great masterpieces in the literature of science fiction.
My Review: I have read The Time Machine a number of times since I was first introduced to the story when I was nine or ten through the 1960 George Pál-Rod Taylor film (which is a classic and one of my Dad’s favorite movies). This time around, however, after having taken a class on Victorian Literature, I have seen H.G. Wells’ classic science fiction story in a whole new light. H.G. Wells was a socialist and a reformer and his political views greatly informed his writings.
In The Time Machine’s opposing races of the Eloi and the Morlocks, one can see the class struggle that has been emerging through the Industrial Revolution. The lower and working classes are become less human, working long hours in dank and dark factories while the middle and upper classes (and the aristocracy) are living lives of leisure and idleness through the work and labor of the working class. The message being – as seen through the lens of Wells’ socialism and reform views – that unless a change in made in the division of labor, there will be a revolution which will cause the overthrow of decadence.
There is also a message that lives spent idleness lead to lives without critical thought or inquiry – which is what has befallen the Eloi in the future time that the Traveller (who, interestingly enough, is never named in Wells’ novel) visits. However, a “prophet hath no honour in his own country.” This is often the case, especially with those authors who have a far seeing vision as to what could (and often does) befall a society on its current track. This usually includes those authors labeled and relegated to a corner of the bookstore or library headed “Science Fiction” by a team of marketers. H.G. Wells is there, as are Jules Verne and Kurt Vonnegut, Jr. These are authors who have seen problems, written about them – often in a way that is prophetic and warning – and then reviled by Readers and scholars alike for the visionaries they are.
Popular Readers see them as only a “good story” and Scholars see them as “popular fiction” or “genre writers” because, as they say, “can there any good thing come out of [science fiction]?” and these authors are pilloried and stoned and cast back onto their genre shelves. Only too late do we recognize these authors for what they were: prophets who were foretelling the problems that we now face, however it is now too late to buy boarding passes for the ark and one must learn to tread water in a sea of socioeconomic problems and woes that these men had foreseen. That, friends and neighbors, is the value of such books as The Time Machine, The War of the Worlds, The Invisible Man, The Island of Dr. Moreau, 20,000 Leagues Under the Sea, and Welcome to the Monkey House. If one reads them and recognizes them for what they are soon enough, one can work to rectify the problems.
This, then, begs the questions, what does one do with The Time Machine?: It was written and published in 1895. Surely now, 103 years later, we have bridged the gap of these Victorian class differences. Sadly, the answer is no, we haven’t. The class problems that existed in 1895 with the Industrial Revolution are still extant today in an era of big box stores and commercial farms. Profits are up, but employee benefits are down. The rich keep getting richer and the poor stay poor (to use a well-worn cliché). Corporate greed is rampant and with a vanishing middle class … the distinction between upper and lower class (between abundance and poverty) continues to widen until, eventually, we will arrive at a situation very much like that of the Morlocks and Eloi.
Some might even argue (and I might be one of them) that we are already there, we just can’t see it, because we are too close to the situation, so to speak. In short, there is a lot more to Wells’ novel The Time Machine (which is a phrase he coined with the book: Time Machine) than just a great science fiction story about traveling through the Fourth Dimension. It is a somber Jeremiad against industrialization and class differences, and one we would do well to heed since it seems we have been ignoring Wells for well over a century already.
If You Liked This, Try These: The War of the Worlds by H.G. Wells, The Island of Dr. Moreau by H.G. Wells, Welcome to the Monkey House by Kurt Vonnegut, Jr.
This Review can also be found at Bryan’s Book Blog
Click here for the full article...
Thursday, 17 January 2008
A Man Of Culture
In the Age of the Enlightenment, around the mid 18th Century, many men (and some women) of education where not just of one profession or another; they were not either lawyers or architects: they were jacks of all trades.
Thomas Jefferson, the third president of an independent America, was also a horticulturist, statesman, architect, archaeologist, palaeontologist, author, inventor and the founder of the University of Virginia. Similarly, his friend Benjamin Franklin was an author, political theorist, politician, printer, scientist, inventor, civic activist, and diplomat. Such men are known as polymaths.
Andrew Culture is such a man, although perhaps not on a grand a scale as two of Americas most significant founding fathers. He's a publisher, publicist, concert promoter, record company owner, director of a merchandise company, shop keeper, importer, author, editor, man who plays in a band (he sympathises with NOFX's Fat Mike not feeling up to the term 'musician'), a web designer, developer and manager, and most recently, a winner of an award (much to his surprise) for his zine Beat Motel, which he describes as "a collection of mumblings from the bewildered".
He still sounds surprised by such a compliment. "I got an e-mail from this guy Billy Riot from Northern Ireland, saying congratulations on getting zine of the year in Big Cheese. I replied, 'Congratulations for what getting what in what?' about one in the morning (I have no idea why I was still up). So, I ran to get Big Cheese in a box of zines next to the crapper and I was number one, which I'm pretty bewildered about and I don't quite understand why." "Bewilderment" seems a sentiment he applies to much of life.
He feels that the award is not really significant, although recognition from peers for a semi-regular publication that sells out its 400 copies is nice. He won't be putting himself on the cover of the next Beat Motel, however, because "people may think that I'm taking it seriously, which I'm not." He's aware of the confrontation between fanzines and magazines and is suspicious of
the zine awards held by major publisher EMAP, describing it as "quite a Machiavellian, creepy kind of thing. It's a slight incongruity with the reason you write zines."
He has no want or desire to become a more serious music journalist, either. He was put off by observing the mainstream press over the years. "The reason you do a zine is, for one, the complete lack of editorial control. But also to rally against the control that large magazines fall under, allegedly kowtowing to advertisers and large labels, who help fund the magazine. Getting the EMAP award would be like a member of ETA winning an award from the Spanish King and Queen."
Such a Do-It-Yourself, fuck-the-mainstream attitude is part of the reason why much of the zine scene is closely linked to punk music. Unfortunately, it also suffers the same downfalls: being cliquey, and elitist. "What I try to avoid is the whole cliquyness of the zine scene. If people who collect walnuts only talk to people who collect walnuts, eventually it dies because it can't carry on like that. I try really hard not to have in-jokes. I try to write so that anybody picking up Beat Motel for the first time gets it, rather than having to research six or seven issues of in jokes. But, to a certain extent, the zine scene has to be quite self congratulatory. It gets a lot of security from that, it's one of things that maintains it through time."
Which brings us to the next Beat Motel issue: even if you have an anarchistic approach to content, you still need quality control. "I used to put in whatever comes in. I put out a couple of issues that had so much crap in them, I never had an editorial policy. The pieces just had no substance. From the next issue I'm trying to have a slight editorial content. The reason it's happening is I got sent, by a local business, the most defensive right-wing things I've ever scene. 'England for the English' type bullshit. It made me cross, so I asked my contributors give me their impression of patriotism and nationalism. I'm interested to see how it works. I'm going to try and weed out the crap. You should never put out something that you shouldn't read yourself, it just offends the public."
Having recently started a publishing company, Culture argues that, unlike many forms of mainstream publications, zines aren't dying "on their arse. I started one when everyone was saying that webzines were taking over, and I haven't had any trouble at all. If you look at 
Microcosm (US independent publishers) and Corndog Publishing, which I've just started, we sell zines. It's not millions of them, but that's not the point. I make profit and I can't keep some in stock."
He obviously takes pride in his many self-made task, but finds a drive to write undeniable. When he went on a business trip to Dubai last year, he decided to document it but had trouble getting past the carpark in the first five thousands words. His has been a name in the UK underground for many years now, every so often bumping into people he forgot he had written for: "I was at Reading [Festival] with Chris from Last Hour, talking about zines, and she said that I wrote something for 12 O'Five years ago. It's quite cool that you can bump into people in the middle of a muddy field and they go 'oh, you wrote for me!'"
Tuesday, 15 January 2008
Hannibal Rising
"Hannibal, you do not honor the human pecking order. You’re always hurting the bullies!"Hannibal Rising is a surprisingly good movie that succeeds in providing a convincing and satisfying back-story to Hannibal Lecter when, by all expectations, it should have failed.
The rule of sequels applies double for prequels. I cannot think of many good prequel movies. In fact the prequel movie itself tends to be more the fare of cheap horror films such as Ginger Snaps, Cube, and Texas Chainsaw Massacre. Even big-budget hollywood prequels, such as Star Wars, often suck.
The movie follows the growth of Hannibal Lecter, from an innocent eight year old boy to the psychopathic cannibal that we all know and love. This isn't done simply through a single event but from the ongoing affect that one event has on him as it resonates throughout his life and shapes future events. While there is great risk of losing the menace of Hannibal by explaining him, the character still manages to retain an almost overwhelmingly threatening presence even when doing the most mundane things such as sipping wine from a glass. On the other hand, knowing the history of Hannibal may make Silence of the Lambs a somewhat different experience.
Hannibal Lecter can be considered the greatest and most iconic "baddie" that has graced our screens for some decades. Far more real and disturbing than the likes of Freddy Kruger, Jason Voorhees, or any of the other popular movie monsters. He has the hollow lack of emotion (not to mention the mask) of Michael Myers, the inescapability of Kruger, and the brutality of Jason. But mixed into this there is a devastating intelligence that brings an almost sixth sense to the character.
I have often said that the main reason why the Hannibal series has been so successful on screen is the spectacular performance from Anthony Hopkins. It sometimes felt as if Hannibal was the role that Hopkins was born for and had been working towards his whole life. It is a hard act to follow, that is for sure. Gaspard Ulliel, whom you may remember from his very different role in A Very Long Engagement, comes snapping ferociously at Hopkins heels and threatens to eat him alive. The French actor looks every bit as menacing as Hopkins if not more so, and the scar on his cheek (caused by a doberman attack when the actor was a child) heightens that effect. Here is one actor whose career will be well worth watching.
Ulliel is not the only actor who shines in this movie, the oft dispraised Rhys Ifans rolls out a magnificent turn as the looter antagonist Vladis Grutas. Seeing him laden with the vicious self-servient attitude of his character oozing from every pore makes me wonder; does this new more grown-up role herald a turning point in Ifan's career? We can only hope so.
Brilliant foreshadowing of Hannibal's mask
Director Peter Webber you may know from a very different role as director of Girl With The Pearl Earring, but don't let that put you off or fool you into thinking this is a subtle movie. There is plenty of darkness, violence, and gore throughout the movie. The best piece of directing and editing in my opinion is the horrific even in Hannibal's childhood that sets him on his fateful path. The scene portrays the adults involved just as a young child would remember them, scary, violent, and wild like feral animals or monsters.
When all is said as much as I love this movie myself my opinions aren't reflected in the critical reception it received elsewhere. Hannibal Rising seems to be a movie that appeals to those of us out there who hunger for more Hannibal Lecter stories, but those viewers who haven't been following the movie-presences of this human monster (even the abortion that was Manhunter) may not get as much pleasure from the viewing. Casual fans may well point out that as good as Ulliel may be he still does not have the on-screen intensity that Hopkins brought to the role, although I would argue that it is somewhat unfair to expect otherwise. If you have not seen any of the Hannibal movies before I'd suggest starting with Silence of the Lambs and working from there, this movie does not hold particularly well as a stand-alone.
| A tasty feast of a movie served with a side dish of evil! |
| Rating: | 8/10 |
| Rotten Tomatoes Rating: | 15% |
| IMDB Rating | 6/10 |
| Recipe: | Two choice cuts of human cheek served on celluloid |
| Timeline | + Family ties+ Horses and mayonnaise- Bathtime+ Horses and mayonnaise - Canada |
| Director: | Peter Webber |
| Writer: | Thomas Harris |
| Starring: | Aaran Thomas, Gaspard Ulliel, Helena-Lia Tachovská, Rhys Ifans, Li Gong |
| Release: | 2007 |
| Links: | IMDB Movie Site + Trailer |
| Similar Movies: | The Silence of the Lambs Hannibal Red Dragon Manhunter |
| Related Reading: | Hannibal Lecter Trilogy Hannibal Rising |
28 Weeks Later
Plagued by bad acting, bad writing, and poor production choices 28 Weeks Later is an unfortunate argument against giving sequels to new talent. Worse than that it isn't just a bad sequel, it's a bad even as a stand-alone movie .
There are one or two things that this movie briefly, the bloody scenes designed to please gore-hounds for example. But that's like polishing a turd. It's obvious that the makers have decided that a part of the large success of the original movie was that it was set in London and featured locations Brits and tourists could recognise. Unfortunately they have taken this idea and instead of just setting the movie in London they have crowbarred in London landmarks as blatant crowd-pleasers. Ironically the way they do this means it's only likely to appeal to foreigners who have visited briefly, since the rest of us will be going "Ooh look it's Hyde-hey wait a minute! Did they just run from Greenwich foot tunnel to HydePark in a couple of minutes?? What the- now they're at Wembley? I don't care if it is post-apocalypse, the traffic still wouldn't be that good!"
Maybe that was intentional though, since the writers have also rammed in the American military, presumably to open up the movie to our friends over the water. Of course the military is portrayed as, with very few exceptions, immature, obedient (even at the cost of humanity), mindless, and stupid. Oh wait, they've started letting civilians back into UK before they've even cleared London of the corpses of the infected?
The movie also manages to get both the characters and the actors completely wrong. I'm sure he has fans out there, but for me Robert Carlyle simply doesn't have the talent to carry a movie. I suppose with that in mind I should be pleased that no one lasts long enough in this movie for us to actually care about them (apart from the children, but the complete lack of characterisation takes care of that one). Switching protagonists several times through the movie certainly doesn't help things, and we as viewers are left not giving a flaming hamster whether anyone on screen survives to the credits.
Having said all that there were one or two parts in the movie that I enjoyed. The aforementioned gore scenes being one of them, and also one scene earlier in the movie that had a refreshing approach of the protagonist turning and running rather than trying to rescue people from the attacking zombies. Every man for himself, biatch!
Just to put the finishing touches on an already painful movie, the pointless set-up for a sequel is almost pitiful. It would have been less demeaning and embarrassing if the director and writer had appeared on screen themselves, kneeling and begging, crying "please, oh please let us make a sequel". 28 Weeks Later is a poor sequel and completely misses everything that made the original so good.
| 28 minutes into the movie I almost turned it off... |
| Rating: | 3/10 |
| Rotten Tomatoes Rating: | 71% |
| IMDB Rating | 7.2/10 |
| Recipe: | Find a recipe in russian that you cannot read, pick ingredients at random from the market but only ingredients that usually provide additional flavour rather than the base of a meal. Mix and serve cold with a sprinkling of gore. |
| Timeline | - who are these kids and why should we care? + wife beating - but...we don't want a sequel! |
| Director: | Juan Carlos Fresnadillo |
| Writer: | Juan Carlos Fresnadillo, Rowan Joffe, Jesús Olmo, Enrique López Lavigne |
| Starring: | Robert Carlyle, Catherine McCormack, Imogen Poots, Mackintosh Muggleton, Emily Beecham, Jeremy Renner |
| Release: | 2007 |
| Links: | IMDB Movie Site Trailer |
| Similar Movies: | 28 Days LaterResident EvilI Am Legend |
| Related Reading: | The Zombie Survival Guide |
Monday, 14 January 2008
The Wizard of Gore is Nothing Magical...
"Yes! I am Montag. Master of illusion. Defier of the laws of reason. What is real? Are you certain you know what reality is? How do you know, that at this second, you aren't sleeping in your bed, dreaming that you're in this theater?"
The '70s horror market is well known for spawning the underground genre known as 'exploitation cinema'; low-budget films that cover a series of taboo and lewd subjects accompanied by a massive helping of gore (check out our review of Death Proof for more information about exploitation cinema).
Among the many now renown directors of the Exploitation era, Herschell Gordon Lewis is perhaps one of the most famous. The Wizard of Gore is perhaps one of his best-known films that has spawned many imitations and one remake, and is still considered a defining film in the exploitation market today.
The viewer is introduced to Montag the Magnificent (Ray Sager), a stage-magician with a taste for crude and over-done theatricalities. The premise of his show is that he invites (or rather hypnotizes) young women out of the audience to participate in some of his more dangerous and gruesome stunts, including being chopped in half by a chain-saw ('What, you thought a simple hand-saw would suffice?!' exclaims Montag), hammering a thick metal spike into someone's head and even amateur sword-swallowing. At first, the participants of these illusions seem to be fine and unharmed, though some hours after the show they are found with the same injuries they sustained on stage, much to the disbelief and astonishment of the local police force who can't work out how the killer is killing these girls with no trace of a murder weapon.
In comes an aspiring new TV presenter by the name of Sherry Carson (Judy Cler) who has taken a particular interest in Montag's show; wondering just how he pulls off such illusions. When the bodies start piling up her journalist boyfriend Jack (Wayne Ratay) works with the police to try and find out what's going on; suspecting Montag to be the killer.
Wizard of Gore is, at best, confusing. The viewer is introduced to many plot twists and is often left to wonder just what the hell is going on. During Montag's illusions, we are treated to a heavy amount of gore, as the psychotic magician is really killing the women who volunteer for his stunts on stage, however Montag appears to be a master of illusion therefore the audience does not see his acts of torture. Having said this, this only dawned on me half-way through the film, as the editing during these scenes is rather erratic. They're also horribly drawn out; taking up to 20 minutes to complete. While these scenes are numerous and long, it does feel as if they are the only thing the plot really has going for them. In between these grueling scenes, the action focuses on our budding presenter and her boyfriend, exploring their personal lives and their hunt for the killer. There's a stark contrast between the two mediums here; as the viewer is introduced to the banality of their lives and the uber-violent, somewhat misogynistic pleasure that Montag takes in killing his victims.
While on the outside, this may seem like another brainless splatter movie, it actually does have an underlying message. The complacency of the audience during the gruesome shows has been widely interpreted a
s a commentary on social culture; implying that over the years we have become conditioned to violence. While confusing at first, this message is understood; as the audience just sits and stares as Montag slices and dices the young women unfortunate enough to cross his path. They even clap at the end of it all.
As Mark Spainhower said in his essay:"The Wizard of Gore defies the notions of logic, reason and restraint with carefree abandon, stopping at nothing to trap our attention.[...]Complex notions of Time, Space and Logic are presented in the midst of some of the wildest flaunting of cinematic "good taste" ever to appear on the screen."
And he's right. While the film is silly at the best of times, it does seem to have an important message, and does try it's best to be 'experimental' by leaving the viewer in confusion. While it may not be everyone's film, it's gained it's place as a widely recognized template for future exploitation films.A somewhat disappointing film by modern standards, but a must-have for die-hard exploitation fans Rating: 3/10 - despite the somewhat positive review; as a film lover I cannot give this a decent score Recipe: Take a handful of raw meat and (for the time) realistic gore, drench it in red corn syrup and let it stew with some social commentary Timeline + ridiculously camp
- long, repetitive scenes
+ gore, gore and more gore
- more long scenes
- confusing endingDirector: Herschell Gordon Lewis Writer: Allen Kahn Starring: Ray Sager, Judy Cler, Wayne Ratay Release: 1970 (Made in 1968) Links: IMDB Similar Movies: 2000 Maniacs
Color Me Blood Red
A Taste of Blood
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