Guinea Pig 2: Flowers of Flesh and Blood

Guinea Pig 2: Flowers of Flesh and Blood, Starring and directed by Hideshi Hino (1985).

Everything that we now know about Charlie Sheen from his drug abuse, porn star addiction, severe mental problems and conspiracy theories, most people would in this day and age side with Chas Balun. According to Snopes, in the 60's, Ed Sanders a guy in the hippie punk band The Fugs interviewed someone from the Manson Family about a headless victim in a secret sex tape that no one was able to track down but it was labeled "snuff". That was the first case of a hardcore scene that ends in death and of course tons of movies came out after about the subject, starting with Michael and Roberta Findlay's controversial, laughable and dull as shit flick Snuff.

Now that this bullshit is on Blu-ray, I'll die of embarrassement all over again!

Sheen pushed the panic button over at Chris Gore’s party, where he put on a crazy video compilation, it offended the dopey actor and he alerted the feds. Gore already had it out for Chas, bashing him in Film Threat, as a scumbag who ripped off the directors that he claimed to admire. We've covered this before but Chas not only loved these rare films, which were all censored in the U.S. at the time, but he went out of his way to champion them as more artistic and brilliant during the time when they were regularly trashed. He took it to the underground to get the message out there before the internet existed.

I saw this film back in the 90’s when it seemed as if it could’ve been a genuine snuff flick, Skunkape had a copy and we giggled and made fun of the dopey looking back alley rapist Samurai (who reminded us of our T.V. Production teacher Mr. Bolton). This teacher had the most lethal, paint peeling, shit-smelling breath that it was a form of torture just to be too close to those rotten choppers.

everybodies doin' it from Col. Sanders, Alice Cooper to John Waters.

Balun also sold the making of special, which showed all the latex effects and fake gore. If you do a brief amount of research, you’ll find truckloads of YT teen film critics making snarky comments or dissecting the entire film series 1-6 that were produced usually in front of their overstocked shelves of horror DVDs and posters. I’ve successfully neglected to review all of the short films, even though I was fascinated by what each of the creative staff of Deep Red thought of Chas getting unfairly busted, because it put them all in serious jeopardy at least for a short while.

A mysterious underground snuff tape showing up in your mailbox could never happen again. In the future of 2017 of course if you really wanted to, you could easily seek out beheadings, snuff or Serbian Film reality bullshit if you choose that depraved route, it’s all up to your own discretion and moral compass or whatever sick shit gets you off. Or you could not even try all that hard and accidentally watch every Human Centipede film on various streaming devices. Why would you though, as Max Renn (James Woods) character in Videodrome struggled with, why do it for real? It’s so much easier and safer to fake it. You know things are really fucked up when that kind of shit is run of the mill. 

I'm still haunted by James Woods trying to explain this flick to Peter Griffin.

Hideshi Hino, a talented comic book artist took this idea or philosophy and constructed his own version of what a genuine snuff film might look like. There’s an interview with him from Vice.com that said the production team behind the first movie approached him about a minimal project, which was the basis for Flower of Flesh and Blood. Hino actually put on the makeup, donned the silly looking helmet for the Samurai role and got really down and dirty. He didn’t receive that much hostility from the feds, at least as much as CB did, which is fucked up considering he created this piece of shit and Deep Red just sold a bootleg of it.

I used to see ads for Hideshi’s comic Panorama of Hell and Hellbaby in the Fantaco catalog, there’s even a cool maggot eaten action figure which came out (that's pretty fucking expensive and hard to find). Hideshi's artistic talents are more provocative and interesting than this film here, which like the first one is just basic torture porn—aka the bullshit Eli Roth thinks is valid performance art.
It begins with amateurish subway footage and an after dark chloroform situation happens. It does have a scary voyeuristic shot on video quality.

I hope this toy is under my tree this year.

A rubber glove wearing ghoul in lipstick and white face make-up (Hideshi), sharpens up some loud surgical instruments and starts carving away like a grandma on Thanksgiving. That’s kind of how it begins, he kills a chicken and blabbity blabs about how poetic her blood and bones cracking are. It’s all done in a slow masturbatory way and it’s no fun at all, super creepy, nihilistic, icky and deranged. I mean if there was a story or purpose other than to get the jollies of some freako going, then maybe I could file it under something in the vein of Grand Guignole Japanese style, but it’s insanely boring and just foul. It ends with him severing her head, popping out her eyeballs and he sings a hellish lullaby. The End.

This short film has certain elements in common with Nekromantik. There’s a the jar of organs, maggots slithering into the camera and all that jazz but it’s basically too boring for its own good. A totally unpleasant yawn fest, it's basically gorenography but I guess it was influential on creating one of the dumbest sub genres: torture porn. Until next time, I’ll save you a straight jacket for the loony bin of Japanese snuff depravity because I plan on reviewing all of these whether they all suck or not.

NEVER TO BE SEEN!

THE PATENTED GUINEA PIG UP CHUCK CUP!

The End of The Wicked (1999)

The End of The Wicked (1999)
Directed by: Teco Benson
Written by: Teco Benson (screenplay), Helen Ukpabio (story)
Review by: "Machine Gun" Kristin 

I discovered "End Of The Wicked" through a user made list of movies on the website, letterboxd.com. The list is titled: Atrocities, Odditites, Trash, Trippy, Religious, Tinfoil Hat, WTF, The Worst in Film & Video and boy, is it ever. haha. After sifting through over a thousand films in the list, I found some hand painted posters produced in Ghana. I recently researched these strange film posters, which are displayed and preserved in a nice space in Chicago called the Deadly Prey Gallery. There, you can look at the many different types of movie posters, all pretty much the same style, painted in oils onto hand sewn flour bags. The poster interpretations of American films (mostly action and horror) are just as strange as you may have anticipated if you're familiar with other bizarre foreign posters from countries such as Thailand or Poland. The Ghana posters are in wide, gruesome brush strokes and make some movies look way more interesting than they actually are haha. I couldn't help but be reminded of the "The Mutilator" drawing from the art classroom scene in "Ghost World".

"Oh. I thought maybe this was supposed to be your father."

The thin plotline of "End Of The Wicked" consists of a group of Nigerian shape-shifting Beelzebub worshippers with what looks like hamburger meat plastered onto their faces. Their Lord is a white face make up covered man with a hairy bloody chin and Fat Albert's voice. He commands them to retrieve enough blood to fill a lake in 24 hours, although this goal is never achieved. The dialogue is either difficult to understand through bad audio and thick accents, which ends up being really unintentionally funny. In one scene, where a group of children are being initiated into the Satanic cult, a girl is told to "blow up all electronics in your home, drink bleach, glasses and then cause fever and failure to all of the children in your home" 

 

Beelzebub's Glamour Shot

The sets look to be decorated from those terrible large shops that say "antiques", where everything is brand new, dark pink, fake period piece style chairs, and particle board entertainment systems. Bleecchhh. Or better yet, they hired the set decorator from one of those strange religious shows that sometimes pop up on broadcast TV, with the giant desks and potted ferns in the background. I'd imagine this movie is a cross between "Black Devil Doll From Hell" (which I still haven't seen yet) and "Mystics In Bali" for the absurd special effects and bizarre, super awkward perverse scenes. In "Bali", the floating head (with organs intact), eats a baby right out of the womb, whereas in "Wicked", we're assaulted with the visual of main character Chris' Satan-worshipping mother (aka Lady Destroyer) raping his wife with a giant magic penis. Fun! Even better, we're somehow treated to not one, but two scenes involving bloody crotches! Yay! I feel like I should be running down the "drive-in totals" like Joe Bob Briggs there are so many wacky things in this gawd-awful movie. In one scene (brought to life in a GIF I made below), the evil children summon a plate of inedible looking pasta on the back of some poor guy while he's trying to sleep. After they devour it with their bare hands, the man wakes up in major back pain. So gross. Later, this same man is subjected to his eyes literally popping out of his head in a dream and he wakes up blind. I'm not even 100% sure what he did that was horrible to deserve this, but he ends his life by stabbing himself to death. He definitely made somebody in this movie mad. 

"I Wanna RAWK!"

Meanwhile, our main man Chris is (unbeknownst to him) still constantly being tortured by his witch mother throughout this movie. Until he's finally transformed into a goat and his throat is slaughtered. They appear to have actually sawed a poor goat's throat to achieve this scene and it is gruesome and horrible to watch. Speaking of real life horrors, this movie was concocted by Helen Ukpabio. She appears in this film as a pastor who I guess is supposed to save everyone from evil, but that doesn't seem to happen. This film was produced by Ukpabio's company called Liberty Foundation Gospel Ministries and it's basically Christian propaganda. She's a wealthy evangelist that apparently through her teachings has influenced many to abandon and sometimes actually murder their children believing that they are in fact witches in disguise. There is a documentary on the subject called Dispatches Saving Africa's Witch Children on YouTube. There's a barrage of very negative press about her career and her bizarre teachings. She was actually banned from entering Britain in 2014 and she has sued the British Humanist Association (BHA) for defamation for basically twisting her words around. BHA's reply: 

“The fact that she is threatening to launch a legal claim for half a billion pounds over an alleged distinction between being accused of exorcising "Satan" or "Vampires" tells you all you need to know about Ms Ukpabio.”

Completely crazy! 

Watch "End Of The Wicked" (in two parts, first part linked here) HERE!

Check out my website HERE!

Steve Fenton Reviews: We're Going to Eat You.

WE’RE GOING TO EAT YOU 

(地獄無門 / Di yu wu men, a.k.a. HELL HAS NO GATES or NO DOOR TO HELL) 

Hong Kong, 1980. D: Tsui Hark 

Reviewed by Steve Fenton 

(Crank here with a short intro: I reviewed this film 5 years ago when I started this blog (link). Back then I would rattle off capsule reviews and hardly took notes. I'm always excited to read a different perspective on the same film, so I've convinced Steve Fenton to chip in a few reviews. Hopefully you know him from Weng's Chop and Monster besides other DR films he's tackled on this site respectively. And now on with the goods). 

As boss-cannibal The Chief says to his flunkies in regards to their—er—dog-eat-dog existence, “In our line of work, if you don’t eat people, they’ll eat you! If you don’t beat them, they’ll beat you!” Words to the wise… 

This movie’s title is probably most familiar to splatterheads as the US ad slogan for Lucio Fulci’s gutcruncher ZOMBIE (Zombi II, 1979), and it is quite feasible that Tsui Hark was influenced for this early feature (his second following THE BUTTERFLY MURDERS [蝶變 / Die bian, 1979]) by the then-still-ongoing Italian zombie/cannibal genres. According to an unsubstantiated rumor I once heard c/o Colin “Asian Eye/TIFF Midnight Madness/Shudder” Geddes, a Chinese story by Qing Dynasty scribe Pu Songling (a.k.a. 蒲松齡 [1640-1715])—possibly one from his collection Strange Tales from a Chinese Studio?—was likely also a source of inspiration here. Whichever way you slice it, however, WGTEY is indeed one bizarre pot of (to quote Alice Cooper from his classic horror track “The Black Widow” [1975]) “humanary stew”; and, since one man’s (or woman’s) meat is another’s poison, only those strong-stomached flesh-eaters with a liking for theirs not just rare but damn near raw need apply! 

A very erotic episode of Archie Bunker.

Firstly, before we plunge into the—ahem—meat of the matter, allow me to whet your appetite with this tasty tidbit of backstory: In 1992, a Communist dissident named Zheng Yi fled Mainland (i.e., Red) China for Hong Kong (which was then still some five years away from becoming re-assimilated back into the mother country’s jurisdiction [as happened in the fateful year of 1997]), risking his life to defect and reveal to the world at large the horrifying contents of a 600-page manuscript which he had in his possession and was eager to bring to light. This damning document exposed cases of mass public cannibalism organized by the Communist régime during the tumultuous social upheaval of the ’60s Chinese Cultural Revolution. At that time, subversives were reportedly systematically/summarily executed, butchered and then devoured by slavering throngs of loyal Reds. Chairman Mao Zedong believed it was a fine symbol of his people’s “class struggle”; his followers evidently believed it was a good excuse for a BBQ. Due to the sensitive, classified nature of the information contained in the smuggled manuscript for many years before it finally came to light in the early ’90s, it is doubtful that WGTEY’s main maker/mover’n’shaker Tsui drew from actual historical facts (other than perhaps whispered rumors), but—if the film is viewed in broader symbolic/satiric terms—the parallels with certain aspects of China’s then-recent past are noteworthy. 

who else feels like chicken tonight?

And so to the film itself… On an isolated jungle island somewhere in Republican China dwells a whole community of mad butchers—led by him respectfully known as The Chief—with a penchant for the taste of human meat; indeed, central to the community is an ominous brick-and-mortar building known (with good reason!) as the slaughterhouse. Any unwary outsider foolish enough to stray into the voracious villagers’ neck of the woods soon winds up slaughtered, deboned and dressed upon their chopping blocks, ready to be divvied-up for consumption by the locals at the communal dining hall (quaintly described as the “cafeteria” [!] in the English subs to my Mei Ah Entertainment disc edition of the film, which I scored back in the mid-2000s down in Toronto’s Chinatown on a bootleg DVD-R c/o the Triads for a mere two bucks Canuck). 

2 Buck Canuck, I wonder if that wine pairs well with human meat? 

Right in the prologue, a bunch of ersatz downsize Leatherfaces in butchers’ aprons wielding meat-axes, carving knives and bone-saws turn a couple of foolhardy trespassers into instant coldcuts. Close-ups of knives piercing flesh and choppers severing limbs are followed by a man being sawn in half at the waist. This all amounts to quite the garishly gruesome opener, for sure. Although there’s much stronger meat to be had these days, and HK cinema went to even greater lengths to unsettle stomachs in later decades (especially during the spate of ultra-violent “Category III” shockers made in the ’90s), back in the day this was mighty potent stuff, without doubt; even if, shades of its occidental kindred spirit/more-than-just-partial inspiration source THE TEXAS CHAIN SAW MASSACRE (1974, USA, D: Tobe Hooper), many of the bloody bodily atrocities committed in WGTEY are much more implied rather than actually graphically shown. That said, more-so than in Hooper’s comparatively restrained film, there’s still plenty of gory gruesomeness to be seen onscreen in the present one, so it’s hardly an exercise in subtle horror, by any means. 

you were expecting Anthony Wong?

Shortly into the narrative proper, a pair of omnivorous river travelers—a dope-smoking, shaggy-wigged “hippy” hobo/thief (Hon Kwok-choi) and a skilled young martial artist/Central Surveillance operative named Jian Men, alias Agent 999 (played by the rather Danny Lee-like Norman Chu Siu-keung, from WING CHUN [詠春, 1994, D: Yuen Wo-Ping])—stop off at the inhospitable isle of ravenous cannibals, who much prefer home-cooked vittles of the human kind rather than lowly chicken. At their village, the longhair is soon ‘molested’ by an oversexed (or possibly just seriously undersexed) Chinese giantess, who forcibly attempts to have her way with him. (“I’ve got syphilis”, he says in hopes of dissuading his seven-foot-plus seductress. Her good-natured reply is, “Hey, so do I!” Gee, it’s a small world, huh?) The XL female is played strictly for distasteful laughs by ‘her’ drag (?) actor, so it does come as rather a mean-spirited surprise for us when s/he too winds up chopped into extra-large cubes of stewing beef (or rather, “long pig”)—not by the cannibals, but by the heroes. Thankfully, this development isn’t dwelled upon in nauseating detail, but it still leaves a bad taste in the mouth anyway, being as the late oversized nymphomaniac amounted to one of the strange village’s more normal, likeable inhabitants. 

At least this flick is more tolerant than PantyHose Hero!

As befits his official title, The Chief (Eddy Ko Hung, sporting an obviously spurious stick-on ’stache and beardlet) is a militaristic, order-barking authoritarian in partial (if decidedly worse-for-wear-and-tear) uniform, who wields a combo swagger stick/cudgel as his scepter of office and in a later amusing scene bemoans the loneliness of his position as top dog in the pecking order. His #1 aide is a man called Rolex (Melvin Wong Gam-San), a fugitive—now-reformed—bandit who is Agent 999’s primary reason for being in the vicinity in the first place. Having sickened of the local yokels’ cannibalistic ways, the ex-criminal endeavors to put an end to them with the G-man’s help, while clearing his name in the process. 

Over the course of this outré scenario, veritable rivers of watered-down raspberry syrup-like blood are shown flowing in loving close-up, although much of the actual damage done to people’s bodies by all the various cold steel carving implements used is kept firmly out of frame, even if the editor’s juxtaposition of the various visual elements does succeed in making such scenes painful to witness nonetheless. Humor periodically segues to horror (and vice versa) without warning, but this queasy admixture of goofball slapstick comedy and extreme gore largely works, thanks to the staccato cutting—pun very much intended!—and Tsui’s morbid sense of humor, even if the gags do sometimes descend to lowbrow scatology (e.g., “I’ll feed you my farts!”), which was certainly nothing new for HK’s commercial cinema, even then.  

Cannibalistic citizens bicker over larger portions of “pie”, while the shunned/scorned town outcast is a vegetarian (or, worse still, possibly even an all-out Vegan?!) suffering from advanced malnutrition. An amorous wife asks her spouse for a bit of “heart”… literally! While eating noodles, a man finds a whole fingernail in his bowl, which is a whole lot grosser by far than finding a fly in your soup. When a strip of quivering flesh is slashed from his comrade, a flesheater smacks his lips appreciatively and promptly has a nibble of said mouth-wateringly tantalizing morsel. Even when bloodily dismembering victims, the masked meatmen are portrayed as comical lunkheads. Blades cleave skulls set to kooky Three Stooges-like sound effects, while frenetically clashing cymbals bring a disjointed, unsettling quality to the soundtrack, which also incorporates sundry “Halloween haunted house”-style spooky audio FX too; hell, even that familiar canned “wolf-howl” heard in innumerable horror flicks from both the Orient and the Occident is also reheard herein. The cannibals’ voracious appetite for manmeat is played for much broad farce, and human flesh is bartered like steak. The whole “humans-as-cattle” angle/subtext is emphasized further in a scene where two combatants buffet at each other with long-horned yak skulls like rutting male moose trying to outdo one another for a mate. Roller-skates, firecrackers and some impeccably-choreographed kung fu figure prominently at the climax of WGTEY, as does a grisly final twist. Even periodic (if only brief) lapses into philosophical pontification on the universal human condition fail to cause viewers’ attention to wander, and seem fitting to the overall surreal proceedings. 

Oh I'm sorry am I boring you?

All of this might well be interpreted as political allegory regarding Communist China (way back when in Tsui’s Son of the Incredibly Strange Film Show segment, droll host Jonathan Ross aptly called it “biting satire”). But there’s no need to bother with underlying ‘social commentary’ anyway if you don’t feel so inclined; by all means just sit back and enjoy the outrageous visuals! WGTEY is great fun entertainment, but if it happens to be your first-ever experience with HK cinema of the more out-there kind, you’re probably in for a bit of culture shock on top of all the other more visceral shocks you get from it. Cannibalism—even when stir-fried with absurdist Rabelaisian touches and (jet-black) humor—is understandably not exactly a popular topic in Hong Kong, even if so many local filmmakers have dabbled in such themes over the years (case in point some of those grislier “Cat III” serial killer shockers). Upon its initial release, WE’RE GOING TO EAT YOU proved to be a resounding commercial flop, as was Tsui’s other satirical/political piece from the same year, DANGEROUS ENCOUNTERS OF THE FIRST KIND (第一類型危險 / Di yi lei xing wei xian, see review here). Distributors treated both of these at-the-time unpopular films with great apathy and allowed them to gather dust in their vaults for many years, before the home video boom, which started catching-on in the ’80s and shows no signs of slowing down to this day (even if the technology has changed so drastically for the better in the meantime!), began gradually building-up their international fanbases; both films have long-since developed sizeable cult followings by now, and for hardcore HK-horror buffs, the present title—the most notorious of the two by far, for obvious reasons—amounts to absolutely mandatory viewing. 

Mondo Cane 2 (AKA Mondo Pazzo)

Mondo Pazzo
Directors: Gualtiero Jacopetti, Franco Prosperi

Reviewed By Machine Gun Kristin

My first impression of "Mondo Pazzo" came from a trailer tacked onto an episode of USA network's, "Reel Wild Cinema". It was almost a companion series to TNT Monstervision, which in its later years was hosted and written by Joe Bob Briggs. "Reel..." however had the Something Weird catalog behind their cinematic choices. "Mondo Cane" the first in the series of these Italian exploitation documentary films in the early 1960s. "Cane" even has a soundtrack that can somewhat easily be found in thrift shops next to usual, endless cast-off records such as the discography of Ray Coniff. Even more bizarre is that "Cane" is considered a "hit" at the box office with a theme ("More") that's been sung by pop music giants Frank Sinatra and Andy Williams among many others. Riz Ortolani, was the go-to mondo film guy and of course handled the electro-stress freakout score for Cannibal Holocaust.

The film opens with a dry-voiced (courtesy of Stefano Sibaldi) explanation as to why the first film ("Cane") was banned in England. The narrator reads on about how they've decided to use its scene cruelest to animals in the very beginning so that censors basically don't screw up the tone of the film. The deadpan vocal delivery of this is almost mocking while we see real dogs having their vocal cords altered to reduce their barking. It's a very upsetting visual. From there, we view more dogs being unnaturally colored to match dresses for a fashion show. Most bothersome is the literal dragging of one dog that refuses to walk down the runway. The scenery is basically British Pathe fashion videos on acid.

Cringeworthy Kisses For Sale

We see the earlier days of drag, seen not so much as a modern art form, but a terrible secret kept from their children. There are cakes made to resemble full dead bodies that are devoured by kids. Tortillas with a light splash of salsa, are then filled with live bugs and quickly eaten. The diners even take a moment catch the escaping flying bugs and toss them back in their mouth. Bleecchhh. They only slightly explain this as basically a revenge killing to these flies that are dangerous to Mexican crops. Even early in this film, I'm already saying out loud to myself, "what the hell is going on?!" Then my eyes are assaulted by old men paying for kisses while air purifying their mouths and unhinging their dentures.

Yay! It's fake! 

There's actually one non-disturbing segment that shows photos being created and set with scenes of fictional horror. It's pretty fascinating and fun to look at it. The models are sprayed with fake blood, and phony knives protruding from their chests playfully.  It was great to have a nice break for a few minutes. Then, we're roasted once again on the fires of the "awesome panorama of human behavior". Followed by scenes more dog torture, Italian guys ramming their heads into a garage door, and an insane scene of an artist in flames painting a portrait of half naked Satan and his entourage.

Satan's entourage is a bit like Vince and the gangs, accept not on HBO.

I'm sure "Pazzo" is small potatoes compared to other notorious "is it real or not?" style shockumentaries such as "Faces Of Death" and others. "Cane" is considered of the first shockumentaries and from what I was reading actually harder to watch than "Pazzo". One of the filmmakers, Gualtiero Jacopetti (who also is responsible for the unsettling "Africa Addio"), admitted though to recreating the scene of a monk lighting himself on fire, despite how horribly realistic it appears. The rest of the chilling scenes I can't say for sure if they're real or not. Phony gore is much easier to handle, we know that the actors can be healed again once the scene is complete at filming. Their blood isn't really shed across the wall, an artist created that fluid using their creativity and ingenuity. When you know it's real, your stomach begins to turn, your brain casts a shadow of sadness but thankfully you can look the other way in your own home.

This about sums it up

You can buy "Mondo Pazzo" HERE

Check out my website HERE

Mountain of the Cannibal God

Mountain of the Cannibal God (Prisoner of the Cannibal God, Slave of the Cannibal God) Starring Stacy Keach, Directed By Sergio Martino (1978).

So let me tell you a little story about when I worked at Goodwill, one of the most miserable places on earth! I was there one day at 8 in the morning and I always take a gander at the videos and DVDs to see what exciting things will be available at the end of the day, but the bullshit rules were that you have to wait until the shift is over to buy anything. This was one of those days when I swear to God, I saw the Blue Underground DVD of the film in question. After the end of a typically brutalizing day, I checked again to see if my prized pigeon was still there but it wasn't! I was crushed that it mysteriously disappeared, no one I knew had their eye on it and swiped it under my nose either! So what happened? Did some elderly perv get his grubby mitts on it and decided to add it to their offensive collection? On a regular basis, people would snatch up racist memorabilia like golliwog dolls and shit that should be locked away in the Black community vault never to be bought by white people.

Apparently, I wouldn't shut up about it because that Christmas, Skunkape unbeknownst to me, sent me a copy and I was overly excited! Yada, yada, yada a lot of shit happened and I forgot to review it but here we are, better late than never.

Cartoon leaves absorb the guilt.

At TOG headquarters we always poke fun at the director, Sergio Martino, as the "monkey tied to a javelin guy" and this is where that reference originated. Normally, I hate Cannibal films, (although come to think of it, I've reviewed too many of them), but this one is a very special case because it's got a bunch of famous people interacting with nobodies along with vile and disgusting animal antics. We've got Stacy Keach in a Beatles wig & scruffy beard combo. James Bond heroine Ursula Andress, who has so much pancake makeup on, it looks like her features are disintegrating. Andress was a 60's Playmate, dated James Dean in the 50's and even hooked up with Harry Hamlin when they met on the set of Clash of the Titans. So yeah, this little dirty secret apparently didn't hinder her career or anyone else's involved like so many other mondo films have done to lesser famous actors. Mountain was also placed on the Video Nasty list and its poster for (Prisoner of the Cannibal God) was featured in the episode "Dirty Movie" for The Comic Strip Presents with Jennifer Saunders and Rik Mayall.

the kitchen is ablaze but at least that poster is OK.

Oliver Onions handle the majestic score aka Guido & Maurizio De Angelis. The first time I heard of this movie was when I saw the shitty bootleg with Japanese subs that Skunkape probably bought from his dealer of choice Threat Theatre. It took a while for this film to grow on me, but I'm pretty sure I saw the cut version the first time I watched it, once you see the midget cannibal and the pig fucking scene it's hard to forget and it sort of becomes etched into your subconscious.

suck on my spinning starfish shithead!

Everyone for some reason wears tan or beige or cream colored, Duh, because it's the 70s obviously. The first poor animal to go on the chopping block is an iguana. They peel it like a banana and eat it's guts. Anyway, the "scary cannibals" are just regular dudes in Brillo pad wigs. That's one complaint I always have about these jungle misadventure flicks is that they never interview the poor fuckers who had to eat the murdered animals or chew on the raw innards dripping in kayro syrup. I'm sure they had a rough time choking them down.

brother if you only knew the bullshit we've put up with!

The locations are really cool, very tropical and nobody looks as sweaty or uncomfortable as they usually do in say Cannibal Ferox. I've never read anything about Stacy Keach's experience during this film and he never mentioned it in the Shock Cinema review. The monkey scene is so fucked up because there's literally a guy shoving the creature into the snake's mouth and his hand is covered up by some optical cartoon leaves. In the extras, Martino tries to come up with some bullshit and say that it just happened naturally, but he's a moron. I don't understand how they allow him or Deodato to just lie through their teeth about the production. Sergio mentions how terrible he feels that Claudio Cassinelli was killed in a helicopter crash during one of his other films Hands of Steel (aka Atomic Cyborg) in Colorado. That I believe though, he seems sincere enough.

 I love the Cannibal's jagged teeth helmets, they're very creative and original. Antonio Marsina, the actor who tags along with Keach and Andress looks kind of like a more haggard version of Cary Elwes, the guy from The Princess Bride, only more sinister.

If I were Cheech or Chong, I would've been asking every question about this movie to Sgt. Stedenko and nailed him to a chair Serpent and the Rainbow style until he talks, (Keach just after this appeared in Up in Smoke). There is an awesome crocodile attack scene but then again this is the director of Big Alligator River. He mentions in the DVD extras that this, Big Alligator and Island of the Fishmen were in the imitation genre or linked films that were capitalizing on successful American films (not sure which ones however--Jaws possibly)?

I was only pretending to be stoned and I hate pizza.

There's a crazy Ewok trap that oozes gore as it crushes this guys feet & rib cage. Can you imagine if the Ewoks decided to just eat C-3PO or Han Solo, I would've died laughing. During the second act they run into Manolo (Claudio Cassinelli), he's smitten by Andress' character and she kind of strings him along.

One positive aspect among the sleaze is that there's not a lot of dominating other cultures or the racist connotations found in most jungle cannibal fests. No one is from the media, trying to exploit anyone or murdering people in the name of some ridiculous cause that's the difference between this and other cannibal films. The savages just like all the other white males in the audience are lusting after those Andress titties. When they smear her with orange paint and dress her up for the sacrifice, she looks like 70's era Bob Mackie did the design. The yellow rotting corpse of her lost husband is down in the caverns and they've fashioned him into a ghastly idol with a Geiger counter heart.

milk milk lemonade, round the corner artisanal fudge is made.

In the Bay Area horror host TV show "Creepy Kofy movie time", they showed this all edited for television, but it was still entertaining to hear what they had to say. I definitely miss that show, although apparently here in Nashville they have a Svengoolie clone but I never see him, since I don't have cable and stream everything. One girl spits into a bucket, which reminds me that episode where Anthony Bourdain had to drink fermented saliva booze and piranha sandwiches--it was pretty horrifying. The same girl that makes a loogy drink gets topless but it doesn't end well for her. Whenever I see the stone age weapons that the savages use it reminds me of the Flintstones. The last 20 mins gets off the chain nutzo! It's mandatory that you stick around for that!

A CANNIBAL TREAT WITH CLASS, STICK OUT THOSE PINKIES WHEN YOU INGEST THIS SWILL!