This is an Article I found in one of my horror books I will Re-Type it for your reading pleasure *note* Im just re-typeing it so don't get mad at me if it offends you. I also add my own gross meter at the bottom
The plot line has a group of adolescents being used as human fodder to satisfy the perverted desires of a band of Fasciests who have occupied a castle in war-torn Italy. The Fascists are also using the spoken memoris of several prostitutes to ignite their already sick scenarios the human mind can desvise.
What Pasolini supposidly was attempting to do here was concoct a Fascist state which was Italy in World War II. Howerver, Pasolini seems to relish staging the obscene tableaus in all their loathsome far more than condemning them. Beyond the numerous rapes (bothe heterosexual and homosexual) and sexual perversions, we are shown extremely realistic scenes of young people being forced to dine on a meal of cooked $hit, people urinating or $hitting on one other, or choking broken glass hidden in apperantly edible food.
Whatever his moral intentions may have been, Pasolini wallows so deeply in the filth that it's impossible to do anything but have an automatic gag reflex to the entire motion picture.
Gross-o-Meter
Fright=4
Gore=5
Sick=9
Just after the Nazi scientists used concentration camp victims for their hideous experimental efforts to see how much punishement a human body could take and still survive, the scientists of 731 Squadron are shown using the imprisonment natives of Manchu province as their guinea pigs. This is the core of the plot-the vivid demonstrations of these various experiments in human endurance. The handsomely produced film is presented very much like a documentary. Watching this movie is very much like being on a guided tour of a factory designed to create hell on earth.
In one unberable scene, a young boy (the only caracter the filmmakers have allowed us to develope any sympathy for) is injected with a biological plague. While still alive-to see how fast the plague travels through his body-the young boy is next taken to the operating room. Their a group of jovial doctors literally cut him into pieces and put his organs into assorted glass jars. The camera never once moves away from the site of the scalpels shredding the flesh as the strangers' hands dip inside and cold-bloodedly remove the boy's living organs.
How much of the story is historically accurate I honestly don't know, but the idea that any studio (for this is a major production, not a low-budget exploitation flick) would want to remind us of these unspeakable horrors is something almost beyond imagining.
Gross-o-Meter
Fright=7
Gore=9
Sick=8
The second half of the movie is devoted to showing how this resourceful young woman takes the law into her own hands and fatally dispatches each of her attackers in the most lurid and crule manner possible. When the last one is dead, the movie just ends.
Some critics have defended this unrelenting crule film as a feminist revenge fantasy in the sence that the victim gives her attackers just what they deserved, and then some. However, the fact that the protagonist is a very attractive woman who doesn't hesitate to use her physical attributes to "seduce" the men into compromising positions before attacking them certainly muddies the moral waters. It is one ideal to make a brutal film condemning rape, it is another to portray the four rapists as exhibiting "acceptable" behavior tword women so that a female can later use her sexuality to "naturally" destroy the male.
Whatever I Spit on Your Grave is trying to say about rape, about the only conclusion that can be reached from viewing it is that both sexes are thoroughly violated and debased. It's the kind of slimy cinematic experance that makes you want to take a long shower after its final blood-drenched climax.
Gross-o-Meter
Fright=3
Gore=6
Sick=9
Clearly inspired bye the early gore films of Herschell Gordon Lewis, the film has a mad magician named "Sardu" running a Grand Guignol theater off-off Broadway. The theater is a cover so Sardu and company can torture and then slay their unfortunate victims. NOt too suprisingly, the victims consist almost entirely of young, naked attractive females.
When not actually killing women, Sardu passes the time by using their bodies as human dart boards, swrving tables, and urinals. Every scene is meant, of course, merely as a huge joke. Check the laughs in this scene: A dememted dentist friend of Sardu's first pulls out a woman's teeth with a parir of pliers, then drills a hole into the woman's skull. Inserting a straw into her brain, he then begins to suck the woman's brains out. Get the joke? Reportedly produced bye people usually involved in hard-core pornography, and it shows. Bloodsucking Freaks is that rare film that is completely with out redeeming valuse; it's not even "bad" enough to qualify as offensive camp.
Gross-o-Meter
Fright=7
Gore=8
Sick=7
Supposedly inspired by Ingmar Bergman's classic Virgin Spring, the story line has a gang of thugs(both male and female) brutalizing, raping, and finally murdering two teenage girls. By chance, they end up at the house of one of the slain girls, and when the parents discover what has happened to their daughter, they naturally become far more vicious and depraved than the trapped gang of punks in exacting their revenge. That the movie was shot on a shoestring budget with a cast of unknown "actors" only adds to the gruesome sensation of watching a cinema verite docudrama rather than a shameless piece of exploitation catering only to our basest sences(For example, the story includes one of cinema's first fellatio/casteration.)
In any other genre, Last House on the Left would be a credit a first time director or producer would do their best to make disappear, not be revised as a milestone in splatter-cinema history.
Gross-o-meter
Fright=7
Gore=7
Sick=8
Not too suprisingly, the entertainment value in Maniac is nil. The plot, such as it is, is basically a showcase for Savini's incredably realistic and gory special effects/ The torture and disfigurement and dismemberment of women is shown in loving detail, for those who care to watch the walls run red with their blood. Yet another film supposidly backed by those involved in the hard-core pornography industry, the Maniac's filmmakers' cold-blooded mentality is continually evident in the unrelentingly misogynistic attitude that woman are good for only two functions: fu(king or killing(and not necessarily in that order). The film's only value may be for someone studying the career of special makeup effects master(and now director) Savini. Producer/writer/star Spinell died before getting a Maniac 2 under way. Read into that what you will.
Gross-o-meter
Fright=8
Gore=8
Sick=7
Of course, being eaten alive isn't always the worst of it, as the female explorers are usually gange-raped, thile the men's genitals are cut off or the tops of their skulls are sliced open like coconuts so the brains can then be munched on for dessert. Belive it or not, this is standard behavior in nearly every one of these movies: anyone can be somebody else's next meal.
In Cannibal Holocaust, much of the unrelenting gruesomeness lies in the explicit scenes of live animal slaughter. Unlike nearly all of the other cannibal films, these acts are not committed by the natives, with the viewer assuming these animals were eaten by savages in a typically savage manner. Here the slaughter is committed by the explorers as a part of the plot. Either way, the very idea of animals being literally buchared as part of a fictional story where human beings are supposedly butchared is morally indefensible, to say the least. The artistic intent of the filmmakers is, of coarse, to make us suspend our disbelief that human beings are being litterally slain as well.
The unending scenes of cruality are almost indescribable; the only moral lesson supposidly to be learned is that the "civilized" Western explorers are as bloodthirsty as the savages. At one point, two of the explorers gangrape a native girl. Later she is punished by her tribe by being impaled on a massive pole- which is driven up through her vagina right out her mouth.
In what it says about the human condition, Cannibal Holocaust just gets darker and bleaker and bloodier. It should come as no great shock that the only way for the movie to conclude is for no one to get out alive.
Gross-o-meter
Fright=7
Gore=8
Sick=8
Directed by John McNaughton and starring Michael Rooker(Cliffhanger), the film was made in 1986, but had little commercial exposure until its videocassette release in 1990. The film was shot on a very low budget in Chicago. The story line brings us directly into the boring, lower-middle-class life of a young man named Henery. The sort of guy you wouldn't mind having a beer with once in a while or baby-sitting your kids on short notice. Trouble is, the only way he knows how to enjoy himself sexually is by torturing, raping, and snuffing women. The film opens with the ghastly aftereffects of a bloody murder; the film ends with Henery casually disposing of his latest victim in a moist suitcase by the side of the road.
Though it is far from wall-to-wall bloodbath, what makes Henery so goddamn chilling is the technical qualityof the production; the direction and script and acting are all first-rate. For once, the filmmakers were deadly serious in their endeavor to make us all react personally as voyereristic accomplices to the most violent depths of sociopathic behavior. And they succeed completely- everyone at one time or another has met someone who looks or acts on the surface just like Henery. That's the first moment at which we're terrified by what we're seeing: Henery is a cracked mirror held too close to our own darkest reflections.
Gross-o-meter
Fright=6
Gore=6
Sick=7
The film has several levels of perversity, not the least of which is the way the Nazi commandant continues to revel in his memories of sexual torture. Meanwhile, the young man at one point becomes so enraptured by the commandant's fantasies that he brings in a procession of young boys the imprisoned man can watch him torture. Their is also a blatantly stated homosexual love/hate relationship between the two men. This aspect is unusually crule, with one scend depicting the commandant's iron lung being turned on and off so that, while he is temporarily choking to death, the male nurse can masturbate on his face.
The lush production values, compelling acting, and decidedly unusual plot conspire to keep the viewer from turning away from In a Glass Cage. However, any movie that opens with a man viciously whipping a naked boy hanging from a celing cannot be constructed as anything but seriously disturbing.
Gross-o-meter
Fright=4
Gore=5
Sick=8
For some strange reason, the wife decides to leave him, and Rob unsuccessfully attempts to find sexual release with other women. When he can't, he's forced to murder his lovers before he can become sufficiently aroused to conclude the act. Finally, suicide seems like a sensible turn-on when all else fails. An unrelenting ode to necrophilia, Nekromantik is such a black hole of nihilism that if it weren't for the second rate special makeup effects, it would be all but impossible to sit through.
Gross-o-meter
Fright=5
Gore=9
Sick=10
Their isn't a single likable caracter in this movie-and when Ilsa isn't whipping some naked prisoner, she is shown as a nymphomaniac fucking a different man every night. And any man that doesn't satisfy her insatiable sexual desires is summarily tied down on the operating table and casturated the following morning. Foutunately-if that is the right word-the acting and direction are so over the top that Ilsa can perhaps be thought of as "camp"-a Nazi version of the Rocky Horror Picture Show.
Amazingly enough, Ilsa, She Wolf of the SS is only the first in a series, each movie placing the seemingly immortal Ilsa in a different time period and section of the globe. For those who need to know, they are:Ilsa, Harem Keeper of the Oil Sheiks, Ilsa, Tigress of Siberia, and Ilsa, Wicked Warden. Like the first film, each is filled to vomiting with well staged scenes of sexual peversion and torture to titillate the fantasies of any true sadist.
Gross-o-meter
Fright=2
Gore=5
Sick=8
Combat Shock is the tragic story of a wasted Vietnam veteran, living in abject poverty in the Bronx with his wife and baby. Every day is a battle to stay alive; every night is a battle to retain what's left of his steadily eroding sanity. If this wern't bad enough, the couple's baby is not quite human, having been genetically damaged by the afftereffects of the agent orange brought home by Dad as an added legacy of lifelong despair.
Combat Shock is so painful because the filmmakers make absolutely no pretence to sooth us with even a moment of happiness for anyone in the movie. Every pitiful caracter is shown to be hopeless, knowing only drugs and violence and suffering. Increadibly, the man's situation gets even worse- finally concluding with an extended murder-suicide bloodbath unbearable in its raw intensity, Combat Shock makes the violence and nihilism in Taxi Driver seem like something produced by Walt Disney.
Gross-o-meter
Fright=2
Gore=4
Sick=6
Shot in stark black-and-white, the movie shows Lynch at his most outrageous, as unsettling image after unsettleing image unspools across the screen like a loosening bandages of a critical accedent victim. Cineteratologist Richard Meyers has called it "a live action Monty Python animation made in hell." Whatever Eraserhead may be, it can be truley considered one of those films that forever changes your perception of "reality." At the very least, you get the incomperable sensationof being awake in the center of a truley disturbing bad, bad dream.
Gross-o-meter
Fright=5
Gore=5
Sick=7
