We Are The Sprocket Holes vol. 440

 stand-out viewing for the jacked-knifed dump truck of gelatinous blood-piss that was February.

(January) 

ZIPPERFACE (1992, dir. Mansour Pourmand)

like an extended episode of Silk Stalkings directed by Danzig. 

SPLIT (1989, dir. Chris Shaw)

up there w/ Decoder in the paranoid industrial surrealist thriller category. something tells me Grant Morrison would be a fan. 

SHOGUN'S JOY OF TORTURE (1968, dir. Teruo Ishi)

arguably the most vicious entry in Ishi's edoverse. 

RANDOM ACTS OF VIOLENCE (2019, dir. Jay Baruchel)

an unwaveringly bleak post-deconstructionist slashterpiece that elevates the stalker/body count genre to heights not seen since the mid-late 80s boom of truly imaginative splatter stories. 

THE PIT (1981, dir. Lew Lehman) 

a twelve year old boy stuck between holding court with morose imaginary friends and perving on his dishy baby sitters... don't look at me that way. i can feel your look. 

NO BLADE OF GRASS (1970, dir. Cornel Wilde)

before the post-apocalypse genre became overrun with diminishing zombie returns and flea market Road Warrior cosplays, there was this cold, brutal, nihilistic slice of anti-life that reads like the Stand without the bullshit. 

INVASION OF THE BEE GIRLS (1973, dir. Denis Sanders)

schlubby losers get fucked to death by literal honey traps. 

IMPETIGORE (2019, dir. Joko Anwar)  

i still have a ways to go with Anwar's filmography, but this is the one to beat for me. no spoiler in the form a terse purple prose poetry here... just check it. 

THE EL DUCE TAPES (2019, dir. Rodney Ascher, David Lawrence)  

a nexus point for the last 30 years of performative outrage culture that inadvertently transcends its ultimately shallow subjects (although i'm not too proud to admit that i occasionally jam "Four F Club"). 

 DOGS DON'T WEAR PANTS (2019, dir. JP Valkeapaa) 

one of the stronger entries in the suburban BDSM melodrama mileau that leaves just enough to the imagination while being unafraid to go to places more intense than other post-Secretary yarns (even some of those in the "couples friendly" XXX field.)

We Are The Sprocket Holes vol. 439

 

Shudder Has 

Your Ticket 

to See 

George A. 

Romero’s 

Long-Lost 

‘The 

Amusement 

Park’ 

This 

Summer!

Awwwwww Yeah vol. 199

 Statistics on child exploitation can be deeply misleading. Most notoriously, the commonly-cited data point that “over 100,000 children in the United States are commercially exploited each year,” which was mentioned in a 2010 congressional testimony by the then-president of NCMEC, is based on decades-old data. It relied on two studies, both collected during the 1990s, which included runaways, abandoned kids, and unhoused children. One of the studies, a Washington Post fact-check found, was compiled in a way that allowed some incidents to be counted two or three times. When challenged, the former NCMEC president Ernie Allen pointed to a third report which estimated an average of 1.7 million missing children reported each year. But his findings neglected that 99.8 percent of those kids were later recovered.

Despite its dearth of accurate data, #SaveTheChildren proved wildly popular—spurring summer-long protests across the country, many of them planned and promoted on Facebook. In recent years, the platform has become a hub for right-wing-oriented conspiracy groups—a trend documented by @FacebooksTop10, an automated Twitter account created by New York Times journalist Kevin Roose to track its most popular pages each day. “What sticks out, when you dig in to the data,” Roose wrote in an Aug. 2020 piece about the account, “is just how dominant the Facebook right truly is… The result is a kind of parallel media universe that left-of-center Facebook users may never encounter, but that has been stunningly effective in shaping its own version of reality.”

Facebook a Hotbed of ‘Child Sexual Abuse Material’ With 20.3 Million Reports, Far More Than Pornhub

BOOKS.... are FUN vol. 13

The Unreprinted: 

LORD HORROR by David Britton

#gorenoise vol. 58

 

‘A Serbian 

Film’s 

Milos 

Gets an 

Action 

Figure 

From 

Unearthed 

Toys

NERRRRRRRRRD! vol. 133

 NASA’s Perseverance rover has sent back its first video of its new home: a 1-minute arabesque of color and motion captured from four on-board cameras, as the car-size rover dangles from its rocket-propelled descent vehicle, a red-and-white parachute snaps into place, and the pitted surface of Mars comes slowly into view, dark canyons giving way to ripples of dust that look like giant, rust-colored dunes.

Martian rover sends back ‘overwhelming’ video, audio from the Red Planet

NERRRRRRRRRRRD! vol. 132

 

Justice League: The Shocking, Exhilarating, Heartbreaking True Story of #TheSnyderCut

PSST: still more jazzed for the RAZOR movie than any Marvel / DC property