Brought to us by Ozploitation icon Brian Trenchard-Smith (Turkey Shoot, The Man From HongKong, BMX Bandits) our story starts with a string of disasters including racial riots in Sydney, a nuclear disaster in the Pacific and the crash of Wall Street leading to a dystopian future where the economic chaos means Tow Trucks fight it out for business, cops are corrupt and the kids form gangs of carboys, roaming the roads stripping cars and raising hell.
In 2008 there was Thankskilling, a no budget slasher parody made for just thirty five hundred bucks ($3500!) that starred Turkie, a demonic turkey back from the dead who hunts down and kills a bunch of teenagers on, you guessed it, Thanksgiving. Dumb, cheap, played for laughs but genuinely funny while obviously showing a true love for the genre which it mocked, Thankskilling’s cult status enabled the team behind it to raise an amazing one hundred and twelve grand plus change ($112,000!) via kickstarter to bring us Thankskilling 3 – a movie so insane I had to watch it three times before I could even attempt to review it! (and sober up – the drinking game attached to it will kick your arse)
Deeply depressed, Ian B. Folivor (Adrian DiGiovanni) hasn’t left his cluttered, filthy apartment in over a year. When his sole companion (a vintage TV set he’s christened “Kent”) dies suddenly, Ian decides to end it all by gassing himself with cleaning chemicals. After he falls from his sink trying to cover up the ventilation in his bathroom, Ian is woken by the avuncular Mold (voiced by Jeffrey Combs) who offers him the chance to turn his life around, so long as he does exactly as he’s told. But is it really wise to trust something that grew from the grime in the corner of your bathroom? The Mold may be happy to protect Ian from demonic plasma TV salesmen and his brutish landlord “Box the Ox” (Pete Giovagnoli), but his methods are extreme to the point of murderous. Moreover, once Kent develops his own voice (he speaks in snippets of recycled TV shows) it becomes clear that Ian is caught up in a conflict beyond his understanding, and it’s no simple battle between good and evil.
Takashi Miike has a global reputation as a purveyor of the wild, the edgy, the transgressive. In fact, the bulk of the Japanese director’s extensive filmography is more traditional fare, despite his standing as the international festival circuit’s enfante terrible. Yakuza Apocalypse, however, is exactly the kind of film you think of when you think of Takashi Miike.
Nathan Robbins (Adam Dillon) finds himself at a police station with no recollection of the events that led him there. A quiet, agoraphobic young man who never leaves his apartment, Nathan must piece together what happened through an interview with Detective Miller (Nicholas Vince), knowing that whatever it was, it ended in blood and violence.
Usually when I review movies for this site, I try not to spoil them. Unfortunately, I’ll have to break with that tradition here. Flowers creeped me out for real, and not in a good way. However, I need to unpack the end of the movie a bit before I can explain why.
UK 2012 film Slasher House introduced the ultimate Final Girl trapped in an abandoned asylum with four serial killers. In the wake of that film, director MJ Dixon has set about creating prequel films for the killers, beginning with 2013’s Legacy of Thorn and now, 2015’s Cleaver: Rise of the Killer Clown.
I don’t know how this show slipped by me. I try to keep up with every good foreign TV show but every now and then there’s always one where I am late to the party. I saw the remake on Netflix just as my father-in-law was telling me how much he loved the original and was hooked in by the mysterious elements. I thought I would do a bit of an experiment and try watching the remake first. I made it to about the third episode. The story was interesting but it was so utterly devoid of style and suspense that I couldn’t stick with it. After watching one episode of the original I was hooked.
Tim Ritter’s Killing Spree is a product of the mid 80s to early 90s splatter boom where anyone who owned a 16MM or a shitty video camera was trying to get in on the action by making a no-budget homemade horror flick. These films were usually of the “so-bad-it’s good” variety, the only redeeming values were their unconvincing yet insanely OTT gore FX. This era churned out such crappy classicks as Splatter Farm, Video Violence 1 & 2, Woodchipper Massacre, Ghoul School, etc. (all of which, as well as this film, have recently been re-released on DVD by Camp Motion Pictures as part of their Retro 80s Horror Collection).