existing somewhere in the shared dreaming of a Japanese torture film and a Richard Kern art-fuck, Adam Rehiemer’s THE BUNNY GAME is the perfect film for every existential extremist.
Bobcat Goldthwaite completes the joyfully morose triptych that began with bestiality (Sleeping Dogs Lie), continued with teenage suicide (World’s Greatest Dad), and now concludes with a cross-country killing spree in the de-fuck-you-lightful GOD BLESS AMERICA.
Italian Horror is back for blood with Domiziano Cristopharo neo-giallo; a not-so-fun-but-actually-kind-of-funhouse filled with luscious S&M, graphic murder, and cornea-segmenting cinematography that proves Spaghetti Splatter need not rest on its laurels anymore.
the Grand Guignol inspired cinema-omnibus showcases the very best genre films has to offer all in one celebration.
- “the Mother of Toads” by Richard Stanley: a slimy Lovecraftian walk-of-shame.
- “I Love You” by Buddy Giovinazzo: an emotional annihilation culminating in a profane gush of murder/suicide.
- “the Accident” by Douglas Buck: the futility of consolation in the face of childhood-eroding expierences.
- “Visions Stains” by Karim Hussain: grotesquely poetic study of a young woman’s addiction to the fluid in your eyes.
- “Sweets” by David Gregory: hilariously detached comedy about food, love, and cannibalism.
a flipbook of unbound ID, David Blythe’s anti-social yarn plays like a full-scale deconstruction of the classic “woman gone mad” archetype.
Call it A SERBIAN SIMS. A shockingly competent narrative buried beneath unpleasantly cartoonish CGI. Plays like the most fucked up underground comic book you’ve ever read.
A film that will make you wish you could will your biological make-up into sterility.
The “other” controversial roughie from Serbia is every bit as depraved as its more infamous cohort, but also much more nuanced, sexy, and fun.
Tom Six cements his status as Neo-Torture’s answer to William Castle with this scatological slasher that draws from classic Ero-Guro as well as more atypical sources like Bad Boy Bubby.
French extremist Pascal Laugier follows up 2008’s bile-churning chiller Martyrs with this moody thriller that is not at all what you expect. No where near as graphically intense as his previous film, but possessing all the organic twists and turns that made it more than just an exercise in brutal terror. Genuinely surprising, intriguing, and emotional.