<![CDATA[Ginger Nuts of Horror - FILM GUTTER ]]>Fri, 07 Jul 2017 18:09:04 +0100Weebly<![CDATA[DIRECTOR JORG BUTTGEREIT COMES TO THE UK THIS AUGUST!]]>Thu, 29 Jun 2017 06:10:33 GMThttp://gingernutsofhorror.com/film-gutter/director-jorg-buttgereit-comes-to-the-uk-this-augustBy Alex Davis 

Over the years, reviewing and interviewing here at Film Gutter has enabled me to do some very exciting things. I've had the chance to natter over email, and occasionally in person, to some fantastic actors and directors. This year one of the most thrilling opportunities yet came my way when Starburst Film Festival called to ask if I'd be interested in putting one some extreme horror screenings for the event.

That was a question that took about two seconds of thought to answer, of course, and one of the things that came up soon after was the question of special guests. I had a few ideas, but top of my list was one of the most fascinating directors to have ever worked in the field – Jorg Buttgereit. His work in the late eighties and early nineties was wonderful, genuinely boundary-pushing and largely receiving the dubious honour or being 'video nasties'. And he was also a name fresh on my mind having recently watched German Angst, an anthology film from three German directors taking in Jorg, Andreas Marschall and Michal Kosakowski. That's well worth a look, by the way, if you haven't seen it as yet, and Jorg's opening installment was a cracker.
So, a few Facebook messages later (and I have to say Facebook has been a godsend for all things Film Gutter!) and Jorg and I are in touch and throwing around the idea of doing something at Starburst – and I can confirm that not only will Jorg be here in the UK for the full weekend of Starburst Film Festival in Manchester, but will also be stopping off in my very own hometown of Derby as part of QUAD's Fright Club screenings! Suffice to say I'm really excited to have the chance to welcome such a great director here to the UK, and really excited for some great screenings and Q+As.
Jorg will be at QUAD in Derby on Thursday 24th August, introducing 1991's Nekromantik 2. While the movie follows on from the first in some respects, it also stands alone as a disturbing exploration of one woman's dark obsession with a fresh corpse she digs up from the graveyard – whilst also trying to maintain a relationship with her living, breathing boyfriend. Jorg will be chatting with QUAD's resident cult cinema expert Darrell Buxton before the film, with the event starting at 8pm. You can check out all the info and booking at

Jorg will then be headed to Manchester for the full weekend of Starburst Film Festival, which runs from Friday 25th to Sunday 27th August and already has a huge array of films confirmed – and I'll be talking more about the extreme horror offerings there shortly. I'll be interviewing Jorg about his extreme cult classic Nekromantik before an evening screening, which will be a great addition to a weekend schedule that is shaping up to be absolutely fantastic! You can find out everything you could hope to know about the Festival at http://www.starburstmagazine.com/filmfestival/, and check out an in-depth bio of Jorg at

I hope we'll see lots of our Film Gutter readers and UK extreme horror fans at these events – rest assured I'm buzzing for it myself! And if you want to get in touch with any questions at all, feel free to drop me a line at alexdavisevents@hotmail.co.uk
<![CDATA[AMERICAN GUINEA PIG – SONG OF SOLOMON SPECIAL FEATURE]]>Wed, 14 Jun 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/american-guinea-pig-song-of-solomon-special-featureBy Alex Davis 

The indiegogo campaign for Song of Solomon is live now on Indiegogo  If you like what you read, check it out and support it if you can!

Those extreme horror fans out there with long memories will no doubt recall the Japanese series Guinea Pig, which exploded onto the splatter scene in the mid-80s and ran for several years, serving up everything from hardcore torture and dismemberment to bizarre comedy through to disturbing character pieces. Even if you haven't watched the originals, you might well be aware of the furore that surrounded the earlier movies in the series, with director Hideshi Hino famously having to prove Flower of Flesh and Blood wasn't a genuine snuff film following an FBI investigation...
These are movies with a place in extreme horror folklore – and when it was announced that Unearthed Films and Stephen Biro would be launching a new series, American Guinea Pig, there was a lot of buzz to go along with it. This was a chance to bring a more modern take to the originals, and the first two movies certainly delivered. Bouquet of Guts and Gore was an effective updated version of the aforementioned Flower of Flesh and Blood, while the second piece, Bloodshock, was a stunning reimagining of the experimental angle of The Devil's Experiment which genuinely left me speechless on first viewing. A black and white nightmare with a cleverly-constructed soundtrack and a nihilistic finale, it's a movie I can't recommend enough to fans of the extreme side of horror.
But you can rest assured that American Guinea Pig certainly isn't done there. Next on the horizon is the third entry into the series, The Song of Solomon. I was fascinated when I first heard of this one as an extreme take on the exorcism movie – a horror subgenre that had enjoyed some mainstream success and was surely overdue a more visceral take. The first trailer for Song certainly hints at it – https://www.youtube.com/watch?v=h6fTNoCncvs – but the next trailer doesn't leave anything to the imagination. Check it out when it hits and you'll see what I mean. And with a cast featuring cult icons Jim Van Bebber and Jessica Cameron, this one promises to be as unmissable as the first two installments of AGP.

The IndieGoGo campaign is running as we speak, and there is some absolutely awesome stuff up for grabs alongside the DVDs and limited editions – you can land yourself a range of signed goodies and props from the movie to boot. And the great thing with this IndieGogo is that the movie is already in the can – all the money raised will be going towards the next couple of movies and continuing this awesome series. When the campaign hits $25,000, that will also unlock the fourth movie in the American Guinea Pig series – Sacrifice – which is looking like the most brutal of an already vicious bunch. The directorial debut from Poison Rouge, Sacrifice is going to be pure, pull-no-punches, dark and disturbing cinema.
I've already got my copy of Song of Solomon in the bag via Indiegogo, and I'd encourage any Film Gutter regular readers to give this one a look. In fact, this one gets the official Film Gutter seal of approval. Stephen Biro and the whole crew at Unearthed Films have been leading the way in extreme for a long time, and American Guinea Pig is pushing new boundaries in creating incredible films for those brave enough to take them on. So swing by the IndieGoGo at https://www.indiegogo.com/projects/american-guinea-pig-the-song-of-solomon-horror#/ – even if you can't pitch in or pick yourself up any perks, even giving it a share on social media is a great way to support and help American Guinea Pig keep rolling!
Film Gutter will resume regular programming next week...
<![CDATA[FILM GUTTER REVIEW: HATE CRIME (2017)]]>Wed, 07 Jun 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/film-gutter-review-hate-crime-2017Review by Alex Davis 

Come on in, the water's hateful...

hate crime 2017 horror film review
Hate Crime (2012) Dir. James Cullen Bressack, USA, 73 mins

Welcome back to Film Gutter, and today's offering is another one of those movies that has been on my radar for a while but has taken me a while to get to. James Cullen Bressack's found footage movie has certainly developed a reputation for being pretty shocking in both its physical violence and was as the verbal abuse thrown around by its characters, and having been through the ordeal that is Hate Crime I can report that's a reputation that is well justified.
The movie begins with a Jewish family that has just moved into the neighbourhood making a home movie of their son's birthday party – which is a pretty tense and awkward occasion as is. But things are about to get a heap worse as three neo-Nazis – simply nicknamed as One, Two and Three – crash the party and turn it into an unrelenting nightmare for the family. Their racial hatred is clear from the very get go, and there are some slurs in here that I couldn't repeat in any good conscience. What follows is a brutal 70-odd minutes of murder, rape, torture and – not surprisingly – pure hatred.
It's an interesting concept, but certainly not without its flaws. The found footage subgenre has never been my favourite, but in this case is very well used and adds a hard-to-swallow degree of reality. Throw into that the fact that much of the movie at least appears to be improvised – and it certainly does add a dark shade of fear over proceedings. The fact the actors suffering the abuse seem to have little or no idea as to what is coming does add something for sure, a sort of authenticity that you don't tend to see elsewhere.
But in that strength also lies its weakness – even though this is a relatively short movie, the pace of the film feels a little uneven, and there are scenes here that seem to drag a little. Improvised movies, even when done very well, can suffer from this same problem, and spontaneity and messiness go hand in hand here. It has a raw energy that is fascinating, but equally it's certainly not neat and tidy filmmaking if that's the sort of approach you prefer.
It's also hard to argue that the movie really has much of a point or a message – there's some statistics about hate crimes at the end, and that was kind of the first time I thought about Hate Crime was trying to say. It was shocking and feral, but it didn't really say a great deal about race relations, about crime, about survival or the human spirit – but then again, does every film have to have a deep and powerful moral? It's a movie about two groups of people basically at war on a small scale because of who they are, and on that level it's pretty effective. But it's hard for me to honestly say that it's a movie that will live long in the memory.
RATING: 6.5/10. There are some things that Hate Crime does well, and others that it doesn't do so well. Some of the improvised content really hits the mark, while in other places it feels paceles and off topic. In the final analysis I think it's above average but doesn't hit any dizzying heights, and is probably more a movie for extreme horror afficionados or for those who are particular fans of the home invasion subgenre. 
<![CDATA[FILM GUTTER REVIEW: LONG PIGS (2007)]]>Wed, 17 May 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/film-gutter-review-long-pigs-2007FILM GUTTER

Come on in, the water's meaty...
Dir. Nathan Hynes and Chris Power, Canada, 81 mins
Found footage has certainly been a mixed blessing for the horror genre – while it has enabled a wide range of movies to be made that once upon a time would have been impossible, some of which use the device very effectively, it has also seen a slew of pretty poor movies and also become what I would argue is a pretty tired cliché. With all that said, there are certainly a few I've liked – Skew and Exhibit A chief among them – and over the next few weeks I'll be taking a look at some extreme examples of found footage horror, kicking off with the 2007 Canadian offering, Long Pigs.
It'll be no surprise from the title that this one is all about cannibalism, and is a mockumentary that follows serial killer Anthony McAlister as he kills, butchers and proceeds to eat his victims. While there are some gruesome moments, there wasn't any sense of things becoming overly gratuitous – indeed as the film wore on I found myself very much interested in the character and the life that he had led. This is one of those movies that, for me, does a good job with the milieu of found footage – it keeps the visuals and the story very simple, it lets the action play out in front of the camera with a believable mixture of 'up close and personal' moments as well as longer shots and also gives a neo-explanation for what we are seeing in the shape of interviews with the police and behaviour analysts. Emotionally it certainly goes beyond what I had expected also, with the moment in which McAlister's mother dies packing a surprising punch and another very powerful scene where the camera crew – with Anthony in tow – go to visit the father of one of the cannibal's female victims.
While it's not a splatterfest, the effects on the whole look very good and the subject material remains pretty disturbing without it 'just' being a film about cannibalism – we see more to the central character and – dare I say – our lead becomes almost likeable. There are parts of the story that feel a little off – Anthony's relationship with his best friends never really seems to ring true to me – and the ending is pretty telegraphed, but I feel like this was among the better found footage horror films that I've seen. It's sparse and bare bones, and I think very often that can work to the favour of the subgenre – if you have the story and character to back it up. While neither were flawless, I was certainly engaged and interested all the way through.
RATING: 7.5/10. Good found footage movies tend to play to the strengths of the concept, and I feel Long Pigs does just that. It's presented as a documentary, which means it can shoot straight and doesn't necessarily move story forward in a linear fashion – which makes it feel more like real life. There are quieter spells, but in these we get to know our lead better and develop a picture of a cannibal in a more rounded way. Splice that in with scenes that do offer variety from the 'let's follow a killer with a camera' and you have a pretty likeable mix all told. So it's a very solid 7.5/10 from me.
<![CDATA[THE GATEWAY MEAT (2008)]]>Thu, 11 May 2017 06:41:24 GMThttp://gingernutsofhorror.com/film-gutter/the-gateway-meat-2008Review by Alex Davis 

Come on in, the water's devilish...

Dir. Ron DeCaro, USA, 69 mins
So, here's hoping everyone enjoyed last month's series of top 5 lists, but for May we're back to the serious business of reviewing! This week it's a movie that has been on my radar for a long term, but frankly is pretty hard to come by – Ron DeCaro's The Gateway Meat. Now, while I know this is the third of a trilogy, it's so often mentioned as one of the most disturbing movies out there that I simply couldn't resist a look at it first. Odds are I will come back to Eating Razors and The White Lie at some point, but for now I'll be looking at the conclusion on its own merits.
We begin with one of those hardcore content warnings – which I'm sure are just pretty much red rags to a bull for most viewers – before we meet the family at the heart of their story. They're just getting over the death of Markus's father, a renowned Satan worshipper, and Markus (played by DeCaro himself) is trying to figure out how to carry on his dad's work. We meet some of his dark and strange friends along the way, as well as his very supportive wife and young daughter (indeed played by DeCaro's own daughter) as they finally decide to move house into Grandpa's old place in an effort to open a portal to hell in the basement.
Plot-wise there's not much more going on than that – it's slim but it works well enough, as this is a movie much more about the disturbing content and the gore. There are actually some really nice visuals along the way as well, but there are graphic scenes of dismemberment, torture and murder that guide us along this twisted journey. Most of the effects look good, and while the acting isn't perfect you feel each character is played to the actor's strengths to make everyone feel believable. It's a little disjointed – very possibly deliberately – and some of the bloodshed is accompanied by distorted visuals and sound to further amp up the unease factor.
Does it really live up to the hype as one of the most disturbing movies of all time? Yes and no. There are certainly moments that leave you with a nasty taste in your mouth, and some of the gore scenes are pretty imaginative, for want of a better word. However for me it didn't have the truly disturbing context of some other movies I've watched, although there would be many a viewer who would find this too much for them. I'd certainly say it's on a par with something like August Underground for shock value – and the two movies do often get compared – although would fall short of something like The Vomit Gore Trilogy. It's certainly worth a look for any serious gorehounds out there – if you can get your hands on it – as it has some interesting flourishes and certainly left me wanting to check out the rest of the trilogy.
RATING: 7/10. Not a flawless movie by any stretch – the storyline felt a bit thin and there were some scenes that fely a bit superfluous to it. With that said, the acting was generally very solid, the effects were good and there was a spark of intelligence and inventiveness in here that lifted it above many of its cohorts in the subgenre. A very good effort, and one for any serious gore fans out there rather than your 'casual' extreme viewer. 
<![CDATA[TOP FIVE MOST DISTURBING MOMENTS IN EXTREME CINEMA]]>Wed, 26 Apr 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/top-five-most-disturbing-moments-in-extreme-cinemaBY ALEX DAVIS 
Well, here at Film Gutter we know you all love the stuff that really, really disturbs us. We've looked previously at some of the most disturbing films – a list that will probably be updated some time soon – but never explored those individual moments that have leave us uneasy or possibly just queasy. So here are Film Gutter's Top 5 Most Disturbing Moments in Extreme Cinema...
Five – The Enema Scene, Debris Documentar
Way back to where it all began for Film Gutter, and one of those movies I had heard of in terms of all the controversial content. But the scene in which our lead visits a prostitute who gives herself an enema and allows all the fluid and excrement to pour into a bucket before our main character proceeds to dip his head into the bucket like some lunatic version of bobbing for apples. There's an almost magical moment in which the actor has an expression that says 'Am I really going to do this? Did I really agree to this?' before breathing deep and going for it. I said at the time it would 'haunt me forever' and that's a fairly accurate assessment all told.
Four – Eating From The Jars, Vase De Noces
Ah yes, the movie also known simply as The Pig F***ing Movie – I kid you not. I'd put this one off for ages but, in the light of David Cameron's alleged indiscretions of last year I simply couldn't resist the effort to be topical. And weirdly, the bestiality is not actually the most disturbing thing in here. Our unnamed lead early in the movie keeps all this faeces in jars rather than flushing them down the toilet, and had gathered quite the collection. But when his porcine lover is sadly lost to him, he rather loses the plot and proceeds to empty his jars by eating the contents. I had a quite retch to myself and managed to keep watching – barely – through this one...
Three – The Entirety of Beyond the Madness
Probably the hardest movie to sit through from start to finish of all my experiences with Film Gutter, this 'horror porno' from Italy I will better remember for being far more disturbing that arousing. The continuous use of dead animal parts throughout this one certainly did nothing to get me going – I suppose skulls, wet eyeballs and organs just aren't my bag. I was blessedly relieved when this one came to a close after an hour of me saying – often out loud – 'oh no, don't do that...' I was ultimately left with the thought of 'I hope I never meet the person who found that a huge turn on...'
Two – The Rape Scene, Irreversible
When I was initially scribbling thoughts on this list, the rape scene from Gutterballs leapt to mind – those who have seen it will know what I mean when I call it disturbing. However having only recently revisited Irreversible, I can safely say I'd rather forgotten just how crunching, unpleasant and hard to watch the scene in the underpass was. The unmoving camera gives you a horrible sense of being a powerless spectator to the anal rape of Alex, played by Monica Bellucci, who genuinely looks as though she is suffering horrible in this scene. The physical abuse is topped by a barrage of verbal abuse, and when her attacked is finished he simply kicks the hell out of her before basically leaving her to die. It's an infamous scene in cinema history and rightly so, because it is one that has left many audience shocked, numb and hollow.
One – Stamping on a Pregnant Woman, Snuff 102
In the first paragraph of my review for this, I said 'I can't see anything more shocking or disturbing than this getting any kind of release.' Those are big words, but I stand by them. This movie is horrible, grimy, misogynistic and bound to leave a sour taste in your mouth. And when I first conjured up the idea of this list, I knew exactly what would be top, because this very short scene still makes my stomach knot up and a little bile rise in my throat to think of. It's a very brief moment in which our masked psychopath drags a pregnant woman to the floor before proceeding to stamp on her stomach – and it genuinely left me absolutely shaken to my core. It's so short because it actually cuts away to an artistic message I forget the exact content of, but nothing has ever topped it on a personal level.
<![CDATA[​TOP FIVE DIRECTORS IN EXTREME CINEMA]]>Wed, 19 Apr 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/top-five-directors-in-extreme-cinema
Extreme horror is a field that often requires a unique vision and a courageous approach to film-making, not taking any prisoners and making bold decisions that other branches of cinema would often shy away from. Directors will often come back time and time again to the area and produce new and daring work. So here's Film Gutter's top five directors of extreme cinema – which comes with a caveat of this one being purely personal...
Five – Jorg Buttgereit
Germany has always had a strong line in extreme cinema, and one of the earlier directors in the field was Jorg Buttgereit, who left a distinctive impression in the late 80s and early 90s and an undoubted legacy for future filmmakers. Whilst movies such as Nekromantik and Schramm were distinctly shocking and controversial, there was also an element of artistry as well and his films still hold up well today.
Four – Lucifer Valentine
One of the most infamous directors working today, Valentine is one of very few people who can claim a truly unique cinema vision. The Vomit Gore Trilogy are well among the sickest, most twisted movies out there, genuinely pushing the envelope of what is acceptable to show and screen and testing its viewer to the maximum. For all that, they are incredibly powerful pieces of work that you're not liable to forget in a hurry, and for me there is a message in there if you're willing to give them a chance.
Three – Marian Dora
Another great extreme director to emerge from Germany, Dora is another name who has left an indelible mark on the subgenre. His magnum opus, Melancholie Der Engel, is really something to behold and remains a staple feature of the majority of 'most disturbing film' lists. It also encapsulates so much of what Dora is about – beautifully shot movies that also don't shy away from truly sickening content. While some of his other work doesn't reach that level, there are plenty of other strong movies such as Cannibal and Debris Documentar well worth watching.
Two – Tom Six
Those of you who have read my reviews and know my feelings on The Human Centipede movies will not be surprised to see Tom so high up on this list. All three movies stick with the same core concept but offer something very different, from the mad scientist horror of part one to the truly shocking body horror of the sequel, wrapping up with the darker-than-dark comedy of the third and final part. Never a director to settle for the same thing again or self-censor (although many film boards have decided to do that for him), I'm genuinely hoping new movie The Onania Club can find a release one of these days...
One – Phil Stevens
One of the newest names on the scene, Phil Stevens crashed onto the extreme horror scene with the brilliant Flowers – a brutal, surrealistic nightmare in sepia without a word of dialogue. Stunningly artistic and extremely complex, this is a movie that has borne many watches and lost nothing with each repeat. Even more impressively, Stevens followed that with the equally fantastic Lung II, every bit as strange and wonderful and disturbing as its predecessor. Paradise is in the works and I can't wait to see what this great talent offers up next.

<![CDATA[TOP FIVE MOST HARROWING ENDINGS]]>Wed, 12 Apr 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/top-five-most-harrowing-endings

Sure, there's plenty of extreme horror out there with deeply upsetting moments all the way through, but it's those that deliver a truly horrible finale that so often stay with us as viewers. So here's our countdown of Film Gutter's Top Five Most Harrowing Endings.
Please note the following list contains spoilers.
Five: Landmine Goes Click

An unflinching rape revenge movie, featuring an American backpacker in Georgia stuck stood on a landmine and unable to move as his friend is abused and assaulted by an unhinged local. But when our backpacker turns up at the house of his friend's rapist, we're treated to a tense, unnerving finale with a brilliant moment at its finale. Our lead threatens to shoot the man's daughter in a game like Russian Roulette, but when the bullet actually goes off its a genuine moment of shock that has great impact. Everybody in the scene looks stunned, and that absolutely transmits to the viewer.
Four: The Woman

The arrival of a feral woman into a young family living in the countryside brings a host of issues among them to the fore. Tied in a shed, and with attempts to 'civilise' her failing, The Woman finally breaks free of her bonds and destroys the hideous mysogny that exists at the heart of this seemingly wholesome family. There are plenty of dark moments all the way through, but when you realise the depth of hatred and dysfunction at the heart of the story it's hard not to be taken aback.
Three: Requiem For A Dream

For what is a relatively mainstream movie – with a fine cast including Jennifer Connelly, Jared Leto and Ellen Burstyn, as well as being directed by the superb Darren Aronofsky – this has what has become renowned as one of the most depressing final sequences of any film ever made. Following a group of people all troubled in some way by the challenges of life in the inner city, this crunching montage show all four of our lead characters suffering the nadir of their character journeys. The composite effect is not likely to leave you quickly, if at all.
Two: Thanatomorphose
One of the hardest movies we've ever had to watch at Film Gutter – and one we won't be coming back to in a hurry, if at al. Following one woman's hideous journey as her body and mind decompose, coinciding with a desperate increase in her sexual appetite, Thanatomorphose is visually grotesque and comes to a screeching, nightmarish crescendo in its final scene. To quote the original review, “When the final scene concluded I had my hands on my ears asking myself 'Is it over? Is it over?'. Because I honestly thought I couldn't survive another minute.”
One: Megan is Missing
So what tops that? Well, it's the movie that left a genuine sense of depression and malaise for the days that followed, the movie that without exaggeration took a week or more to get over. Megan is Missing follows two friends, Megan and Amy, and as implied on the title Megan vanishes when she goes to meet a young man she chats to online. Amy sets out on a quest to find her, but what she discovers is even darker than her worst imaginings. The final twenty minutes of this are just disheartening, destructive cinema. I mean, the final ten minutes are literally a still camera shot of a teenage girl trapped in a barrel pleading for her life while her captor digs her grave outside. It's both brutal and brutally effective, and left an indelible mark for a long time.

<![CDATA[TOP 5 EXTREME HORROR MOVIES ON NETFLIX UK]]>Wed, 05 Apr 2017 23:00:00 GMThttp://gingernutsofhorror.com/film-gutter/top-5-extreme-horror-movies-on-netflix-uk
Netflix has been changing the way we watch TV and movies for a long time, and with its range and variety of content growing all the time, Film Gutter is proud to bring you its list of the Top 5 Extreme Horror Movies on Netflix UK...

5:  Would Your Rather

While it's fair to say that Would You Rather doesn't necessarily tread a lot of new ground, it's a very entertaining take on what can be a tired subgenre. A group of strangers arrive at a mysterious dinner, having been invited with the promise of funding being given to them – which each of them desperately needs for various reasons. The dinner is hosted by Jeffrey Combs, who is in fabulous form in this movie, and the classic party game of 'Would You Rather' goes in a distinctly dark and different direction. It's not liable to win any awards, but for those with a macabre sense of humour this one is tremendous fun.

4: Green Room

You could argue this is more of a thriller than a horror movie, but it's certainly a very violent movie and also a hugely intense viewing experience. You can almost feel the claustrophobia and the walls closing in as an unwitting band find themselves caught in a nightmarish scenario, held captive by a group of white supremacists determined not to see them escape. One of Anton Yelchin's final movies, this one also features some great performances from a stellar cast. Well worth a look for those of you who enjoy films loaded with tension and drama.

3:  The Human Centipede II – Full Sequence

Now, the full trilogy of Tom Six's demented body horror is available on Netflix UK, and regular readers will know that I have a soft spot for all three of these movies. But for the most extreme, most horrific, darkest and most challenging of the three I have to plump for the middle entry. This is a black and white nightmare to match Eraserhead, with Laurence R Harvey sublimely creepy in the lead role. If you thought the first movie was disgusting, you'd better brace yourself for the sequel, which truly shows what the original so often left implicit. Recommended only for those with a strong stomach!

2: Landmine Goes Click

A movie that arrived with little fanfare but was doubtless one of my favourite extreme horror films of recent times. When out on a trip, one of a group of American travellers steps onto an unexploded landmine, beginning a nightmare that will lead to a brutal attack and an even more vicious revenge to follow. The final scenes of this one pack a massive impact, and really stayed with me for a number of days. It's a fairly simple plot, but extremely well done and is more than worth your time if extreme horror is your thing.

1: The Woman

I've long spoken of this as one of my favourite extreme horror of all time, and nothing in my rewatches have shaken me from that assertion. The story follows an wholesome, all-America family – at least on the surface – but when the father brings back a feral woman (brilliant played by Pollyanna McIntosh) from one of his hunting trips, he sets off an powderkeg of tension within the family unit. Again, the movie packs an explosive final punch with an ending that absolutely left me breathless. An essential piece of viewing for those who like their cinema at the edge.
<![CDATA[FILM GUTTER REVIEWS: REGOREGITATED SACRIFICE (2008)]]>Thu, 23 Mar 2017 03:54:59 GMThttp://gingernutsofhorror.com/film-gutter/film-gutter-reviews-regoregitated-sacrifice-2008BY ALEX DAVIS

Film Gutter
Come on in, the water's sickening...

ReGOREgitated Sacrifice (2008)
Dir. Lucifer Valentine, Canada, 65 minutes
It's very rare that there's a movie that I truly put off watching. Those of you who have followed Film Gutter since 2015 will probably sense I'm fairly hard to shock and where it comes to extreme gore and violence, I think I'm made of fairly stern stuff. But having virtually back-to-backed two installments of Lucifer Valentine's luridly titled Vomit Gore Trilogy, I was anything but keen to complete that repellent triptych. Still, I think I would be doing myself, the director and all my fellow gutter dwellers a disservice to ignore it. Welcome back to the disturbed mind of Lucifer Valentine for ReGOREgitated Sacrifice.
First off, the eagle-eyed among you will notice this is the second movie of the trilogy and that I have somewhat made a mess of the order. So here there's no Hope Likens, with the focus (to some extent) on Ameara Lavey and even more so on The Soska Sisters. Yes, those Soska Sisters – Dead Hooker in a Trunk, American Mary etc. That's not to suggest that any of the content here is softened at all – what we have is actually even more sexualised than either of the other installments, and the vomit comes thick and fast yet again. If you seriously can't stand to hear people retching and gagging, do yourself a favour and duck these movies.
If anything, this movie is probably the hardest of the three to make sense of – no mean feat in and of itself. We see the feature character of the series, Angela Aberdeen, very little as we focus on 'The Black Angels of Hell' (depicted by the Soskas) as they go on a grotesque rampage of murder, physical abuse and sexual depravity. Even more this one begged the question of 'how did you get people to agree to that?' because this one has a larger cast, with a wide range of victims seen and debased in all sorts of ways. There's golden showers, people puking on each other, lashings of blood and gore and – most strangely – a man vomiting into a hollowed-out head whilst wearing an octopus on his own head. Feel free to take a moment to take that in. That, of course, is the repulsive Hank Skinny – somebody who strikes a little note of fear into me every time he appears on the screen. In fact, I struggle to think of anyone I less want to see on a screen that him, because it's a cue that what follows is going to be truly horrible.
The plot is practically non-existent, eschewing anything traditional in favour of the kind of montage that you might get to enjoy if you end up actually going to hell. The sound effects are crunching and unpleasant, the visuals are unremittingly extreme and upsetting and basically the whole thing is just there to make you feel bad as a viewer. It's one of those movies which it's kind of hard to go back to real life after. Even at an hour and five minutes it feels too long, because a part of you just wants it to be over. The whole trilogy is a unique endurance test that makes no concession to watchability, to decency, to traditional filmmaking or indeed to traditional morality. I dread to think what it would be like to watch the whole set back to back – you might never get over it...
For all that, and as I said of the previous, there is something compelling and fascinating here. Part of you wonders what's next, what can be next, what boundary will be crossed in the next few minutes. And part of the fascination is trying to find the meaning beneath the madness – something I'm not sure I was really able to do this time, despite my best efforts. That doesn't mean it's not there, but I'm not quite sure I can come back any time soon to delve deeper.
Still, that's the full Vomit Gore Trilogy watched and survived! Achievement Unlocked!
Wait, what? There's a fourth movie...?


RATING: 7/10. It's likely these movies will always hold a place in extreme horror folklore, and are probably the bellweather against which so many other disturbing movies are judged against. 'You thought that was disturbing? Well, you should check these out...' Literally nothing here is made easy to watch, either visually or aurally, and brief moments of candid talks from characters feel like glimpses of precious respite in the maelstrom of abuse, murder, violence and bodily fluid. Nobody has ever dared go here since, which is possibly some sort of indication of the dent these movies have made in the horror consciousness. It was still hard to turn away from, despite it all, and all three are grimly fascinating in a way I still can't quite pin down. This one felt more disjointed, and lacked some of the rawer emotional punch of the other two, so it falls a bit short of its bookends with 7/10.

And yes, I will come to Black Mass of the Nazi Sex Wizard at some point...