This sleazy slapstick comedy horror centers around some navy boys in the Pacific getting their kicks hanging with vampiric hookers. A vampire runs a …continue reading The Daily Dig: Vampire Hookers (1978)
An incomprehensible story is covered up by scenes of torture, fantastical blood, and, of course, an ample amount of nudity. A recently paroled woman …continue reading The Daily Dig: The Girl in Room 2A (1974)
On its anniversary, we look at the controversial horror classic “The Last House on the Left” — a polarizing but undeniably influential film. The Last …continue reading Horror History: The Last House on the Left (1972)
In honor of National Nude Day, and in the spirit of devils and demons month on the podcast, we take it all off and …continue reading Cheer and Loathing: Nude for Satan
Vinegar Syndrome unleashes the Eurosleaze sexploitation possession flick “Malabimba” from the director of the Italian zombie classic “Burial Ground”. The latest Vinegar Syndrome release, …continue reading Syndrome Saturday: Malabimba (1979)
Every town has urban legends. In “Pickaxe”, one town’s legend comes back to life, leaving a bloodbath like none other in its wake. If …continue reading Reel Review: Pickaxe (2019)
74 Days of Video Nasties: Day 3 Devil Hunter (1980) Review by Lindsey Darvell 01/03/2016 Synopsis: An actress is kidnapped and taken to an island to be held …continue reading Video Nasty Review: Devil Hunter
74 Days of Video Nasties: Day 1 Flesh for Frankenstein/Andy Warhol’s Frankenstein (1973) Review by Lindsey Darvell 01/01/2016 Synopsis: Baron Von Frankenstein is obsessed with …continue reading Video Nasty Review: Flesh For Frankenstein
Mad Ron’s Prevues From Hell (1987) is a gloriously nostalgic and loving tribute to the art of the film trailer. It’s a 90-minute smorgasbord …continue reading Netflix & Kill: Mad Ron’s Prevues From Hell
THE SATANIST Directed by: Zoltan G. Spencer Presented by: American Genre Film Archive (AGFA) Alamo Drafthouse Cinema, The Ritz, Austin, TX October 17, 2015 …continue reading Satan, Sexploitation, and the Saving of Lost Cinema: Review of THE SATANIST
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