The Cell (2000)

Director: Tarsem Singh.
Starring. Jennifer Lopez, Vince Vaughn, Vincent D’Onofrio, Marianne Jean-Baptiste, Jake Weber, Dylan Baker. USA. 1h 47m.

I missed the boat on this visual adventure I don’t feel too hard done by but I think if I had watched this 19 years ago then I might have got more of a wow out of the visuals but I’m sure I’d agree with myself that the story was a little weak. But what we didn’t know back then is that Tarsem Singh was only now beginning his his filmography of stunning but needful movies.

I got duped into seeing Anaconda (1997) and I’ll never trust J Low again, actually I didn’t watch her in anything until she acted alongside Viola Davis in Lila and Eve (2015) and I only watched it to see Viola do awesome shit.. but I was looking for visually stunning movies and it got mentioned, a lot, I knew that it involved some amazing costumes by Eiko Ishioka but I’m a sucker for a good story FIRST and stunning visuals to follow . This was a very lavish attempt at an insight into a killers mind while fueled up on bright dresses but also fell short at times usually when out of the dream world, the back up story just add up. Sadly it I was left feeling that this was just a poor rip off of Silence of the Lambs (1991) with an emphasis on style rather than substance, and masochistic imagery.

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Chi o sû nendo / Vampire Clay (2017)

Director: Sôichi Umezawa.
Starring. Kyôka Takeda , Momoka Sugimoto , Ena Fujita , Kanji Tsuda. Japan. 1h 21m.

I used to be blown away by Japanese horror, going through the Tartan Horror series with much glee as it was miles apart from the slowdown that was occurring with its Western counterpart. with the fresh of breath air that the creepy tales sprung upon me, eventually I started noticing a huge split between genuine Japanese Horror and that fringe area which incorporated their unique humor, gore, body horror and sprays of blood. After a while I let things run their course, on returning I was gobsmacked by the array of mundane items which the Japanese has found a way to make scary!

Shivers (1975)

AKA The Parasite Murders, They Came from Within and Frissons,Orgy of the Blood Parasites

Director: David Cronenberg.
Starring. Paul Hampton, Lynn Lowry, Barbara Steele, Alan Migicovsky . Canada. 1h 27m.

I wasn’t prepared for this movie when I first saw it, as a youngster, despite this I adored Cronenberg movies as there was a huge fantasy element of what the fuck about them, but re watching as an adult there are things we still really fully comprehend with his stories but it doesn’t make them less enjoyable. For a while I used to get Shivers and Squirm mixed up, but I really dug into the concept of viral orgies so if your up for some of that hit me up.

Opening with a commercial about the most perfect living area known to man, The Starliner Towers is a modern high rise in Montreal, the site manager named Merrick invites affluent people into their new faultless homes, in one of these units the first gruesome scene unravels, in a silent and violent clip, Dr. Emil Hobbes attacks, Annabelle, a young girl in a school uniform, strangles her, cuts open her stomach and pours acid into the wound, finishing himself off the scene ends, meanwhile Nick (Migicovsky) has stomach convulsions in his bathroom.

Pe+et / Peter (2011)

Director: Skip Kite
Starring: Walt Kissack, Gary Sharkey, Ada, Lewis. UK. 1h 24m

Peter Sutcliffe has had a terrible reputation for a long time, and despite his feelings of remorse in this latter years public opinion hasn’t changed much. This drama is supposed to take you into the mind of one of the UK’s most notorious serial killers, using real archive footage it pieces together the biggest manhunt as well as dramatising Peters inner thoughts while he attempts to reflect internally.

Climax (2018)

Director: Gustav Noe
Starring: Sofia Boutella, Romain Guillermic, Souheila Yacoub, Kiddy Smile, Claude-Emmanuelle Gajan-Maull, Giselle Palmer, Taylor Kastle. France. 1h 35.

There is always something risque with any Noe film and usually it’s no big shock when the crazy sexual violence is going to spring in but Climax, a film which , for me doesn’t live up to its name and just doesn’t really pique, but it does get crazy, just crazy, nothing ban worthy… darn it.

I successfully managed to avoid the hype train, as I had no idea this was in the pipeline, the only piece of information I had was that the film was about some dancers who are spiked we with drugs, the possibilities are fucking endless. and yet. . 20 minutes in I was bored, 40 minutes in… I was bored then the plot picks up…but ultimately I was bored, let me explain.

Sleep Has Her House (2017)

Director/Producer/Writer/Music/Cinematography: Scott Barley
UK 1h 30m

It’s not often I get so excited to write about a movie wanting to say so much about it what most would see as being so little.

The cover alone of Sleep Has Her House (2017) was enough to tweak me into signing up to Kinoscope and taking quality time out to submerge myself into this advantageous one man project. The experience was deep and moving, this totally experimental adventure really crawls under the skin.

Sweet Movie (1974)

Director: Dušan Makavejev
Starring:Carole Laure, John Vernon, Anna Prucnal, Pierre Clémenti, Jane Mallett, Roy Callender, Sami Frey. France, Germany, Russia. 1h 38m

The film is like a psychedelic socio political nightmare orgy, with some kind of comedy added to cushion the blow.

Following the lives of two women, Miss Mode 1984 and Anna Planeta, both are figureheads for different movements, Miss Mode (Laure) represents modern commodity culture, while on the other hand Anna (Prucnal) is the spearhead of the failed communist revolutionary. The film opens with a glitzy show, where women around the world are aiming to win the Most Virgin competition, the winner is Miss Canada with her golden shiny vagina. Her prize is to marry Mr. Kapital, a milk industry tycoon played by the daring and often enigmatic John Vernon, losing her virginity doesn’t go to plan, despite a golden dick, she soon bribes a servant to smuggle out of the Milk Tycoons mansion after his mother tries to drown her. Miss Mode goes on to join a cult, she gets seduced by a glittery Latin singer called El Macho (Frey).

Anatomie de l’enfer /Anatomy of Hell (2004)

Director: Catherine Breillat
Starring: Amira Casar, Rocco Siffredi. France 1h 17m
Based on: Pornocratie by Catherine Breillat

This slightly strangely off putting art house erotica drama see the plights of man vs woman and slowly discovers what we always knew, and that the sexes really are planets apart.

This taboo sequel to the equally taboo shocker Romance X (1999) see Catherine Breillat boldly challenge many more darker crevices within the sexual psyche of a woman who, in Romance was shunned by her lover, seeking love and affection then sex and kink elsewhere, while in the Anatomy of Hell, we discover more about the boyfriend, adoringly known as Man and played by porn star Rocco Siffredi, we see his reasoning behind his unusual character.

A lonely and dejected woman, whose only known as The Woman (Casar) throughout the  film stalks the streets at night looking for company, stumbling into a gay bar she drinks, bumps into all the gay guys and seemly out of it, hits a new low, her suicide attempt in the clubs toilets is thwarted by a concerned stud, after rescuing her she makes him a proposition, she invites him to visit her and watch her silently for four nights while she’s “unwatchable”. Begrudgingly he agrees to continue to help and the two being a strange journey.

The Bunny Game (2011)

Director: Adam Rehmeier
Starring: Rodleen Getsic, Jeff F Renfro, USA. 1h  16m

Bunny Game is one of those movies I kept seeing when asking for a list of Disturbing movies but not one that anyone really rated. Supposedly based on a true story experienced by the leading lady Rodleen Getsic, who co wrote the story, there’s a harrowing experience laid out that I feel deserves a lot of credit.
The broad stroke of the  movie details a terrible event for a young prostitute looking for her next date and a hot meal. Bunny, as she’s later known, opens the film with a blowjob, it’s an actual blowjob which is probably the reason why this film is so unliked, there’s some real sex involved, something you’d expect from a movie about a prostitute right? But obviously not something film goers actually want to see?

Bunny is doing ok, scoring some dates and drugs, she take a break, has a snack and gets back to work, later on in the day she does a bit too much oh the ole white and is robbed, coming around she realises her last date took all her cash and stash. Devastated she sobers up a little and heads out to start all over again. But her luck has run out and she end up climbing into a van with Hog. At first he appears to be a an old trucker who might be interested in a bit of old relish but soon he’s huffing gas, and chasing Bunny through the desert wearing his leather pig mask.

Possum (2018)

Director: Matthew Holness
Starring: Sean Harris, Alun Armstrong  .UK. 1h 25m

There’s a place that some dark artist like to go, it often involves gloomy and eerie aspects from a fuzzy past that are easily recognised but often pushed back to those obscure corners of our minds, like a suppressed memory Possum manages from slither its way out of the dank interior of an old English home, and hides itself in the brown bag carried by a disgraced children’s puppeteer as he embarks on a journey to confront his stepfather and his own inner demons.

The film opens with Philip (Harris) wandering aimlessly around a remote area of Norfolk with his bag clutched tightly to him, after some atmospheric art house scenes backed by a heavy Radiophonic Workshop soundtrack. He spys a few teenage boys on a train he tries to talk with one but he runs away from the creepy man, Philip returns to his home, a dank rundown home with a disheveled garden, here he opens his bag and chucks the contents into a metal barrel with the promise to destroy the leggy creature, eventually we are made aware of Maurice (Armstrong), a sly and controlling character who seems to want to encourage Philip to keep his puppet, while constantly keeps asking if he’s going to burn it, which Philip agrees to but then never does. Little by little Maurice exerts control over Philip and suggests different places for him to visit, while the puppet is slowly revealed  and each time the effects on Philip get more disastrous. As a news story about a missing school boy flourish in the news, questions are raised over Philips possible involvement.