CANNIBAL CLAUS (2016)

BY BLAINE MCLAREN

Sleaze Box and Gatorblade pictures are back at it again…just in time for the holidays.  I am not sure who said “let’s make Bob Glazier Santa Claus”, but I want to personally thank them.  Cannibal Claus is a Christmas movie, but it is not exactly fit for the whole family.  It has all of the gore and naked breasts you have come to expect, but this time it is set to the jolly tune of Christmas carols.  It may not be the best film from Director Sean Donohue, but it is one of his most enjoyable.

Cannibal Claus starts with a mall Santa (played by Bob Glazier) losing his job to his smug employer.  This sets our central character into a tailspin of debauchery and violence, putting together “a list” of those who have been naughty and nice.  This includes anyone who has ever wronged him and his methods are as brutal as they are funny.

The company of actors that Sean Donohue and Sleaze Box films continually work with really seem to be growing as a whole.  These actors are clearly having a great time and it shows throughout the film’s brisk runtime.  The direction is solid and feels cinematic, but it does lack a little of the polish we saw in Death-Scort Service.  The scenes are a little choppier than his last film, but it’s not distracting and may help with the playful tone.  What works best is how this film interweaves the two storylines, giving an explanation for our Santa’s quick decent into insanity.  The family from the flashback sequences give great performances (They are played by a real family; Alberto, Mady and Lucio Giovannelli) and give the viewer a break from the non-stop gore flinging.

I would be remised if I did not mention the parade of lovely women in this film.  There is a list too long to name, but they all deserve credit for giving fun performances and never wasting a moment of screen time. So if you prefer your Christmas movies a little sleazier, trading cheer and snow for blood and boobs, then give Cannibal Claus a chance!  CANNIBAL CLAUS IS COMING SOON FROM GATORBLADE FILMS AND SLEAZE BOX

CHAOS A.D. (2016)

BY BLAINE McLARENThe good folks at Sleaze Box have been working overtime to bring us some of the best no-budget exploitation films since bursting on to the scene with Amerikan Holokaust a few years back.  As rough-around-the-edges as that first movie was, there was something unique and fantastically DIY about their vision.  Chris Woods and company have been putting out a lot of titles and each release has shown a progression in craft, but (thank God) not lost that charm and grittiness that I have come to love.  Their name says it all. These are sleazy, fun exploitation films that make Florida seem even more dangerous than any twenty-four hour news cycle could ever imagine.  They wear their influences on their sleeves, but they are not pulling from your typical pool of influential movie directors. Directors like Bruno Mattei and Todd Sheets have made major impressions on these guys and it shows up in a glorious way.  Their most recent effort, Chaos A.D., is no exception.  We are treated again to an ultra-violent world of naked ladies, over the top gore and way too much of actor Bob Glazier’s anatomy.

 

The story takes place on Halloween night and we are introduced to a housewife, a brother and sister and a hooker loving politician.  Each of our central characters are kidnapped by a gang of viciously perverse weirdos that are ready to celebrate the night with torture and murder.  Once our protagonists are forced into their world, its a non-stop game of blood thirsty cat and mouse.

Having seen all of Sleaze Box’s releases this film is a big leap in production and sets.  Most of their films have been pretty minimalists, but they seem to go out of their way to mix things up this time around.  Also, Chris Woods spends more time developing characters and establishing who these folks are.  Ashley Lynn Caputo really shines as a housewife with a secret and I cannot believe how well she plays her role.  Both her and Bob Glazier steal every scene they are in, not to mention giving brave (nudity filled) performances.  Overall, the acting is pretty great.  Most of these actors have worked with Sleaze Box before and seem to have a level of comfort that is rarely seen in no-budget filmmaking.  My only complaint is very minor.  The runtime is a little longer than expected, but luckily it doesn’t feel too padded.  I just prefer these types of movies to be shorter and more briskly paced.  Besides running a little long, this is another great “gore and gals” roughie that lives up to its provocative title.  This may not be everyone’s cup of tea, but for the few who dig this kind of unapologetically filthy filmakking will love the shit out of Chaos A.D.  The film has not been released yet, but is currenly available to pre-order at https://www.indiegogo.com/projects/chaos-a-d#/

[usr 4]

 

BLAINE’S TOP 15 OF 2015

Holy Shit!  Another year has come and gone and now its time to see which films rose above the rest.  This year’s list includes all of the blood, guts and nudity that you would expect. But don’t worry, I included a few “classier” flicks for all you college grads out there. 

15.  The Duke of Burgundy (Directed by Peter Strickland)

A cold and confounding movie about a woman obsessed with moths who tests the limits of her relationship with her lover.  An exercise in obsession and repetition, that is worth enduring.

 

 

14. Tantrum (Directed by James Bell)

There are a lot of words that can be used to describe Mr Bell’s most recent film, but there is one that I keep using: indescribable. Not narrowly fitting into any real genre of horror or scene. It blurs the line between avant garde film experiment and performance art in a masterful way.

13. Girlhood (Directed by Céline Sciamma)

On top of covering the usual coming of age drama, there is a naturalness that feels so real and universal. From the boring technical side it is nearly perfect. Camerawork  is impeccable and its pace is perfectly meandering. The film may suffer from an unfortunate title, but hopefully people will see it without the looming Boyhood comparison.

12. Death-Scort Service (Directed by Sean Donohue)

A fun throwback to blood, guts and boobs.  The sleaziest film of 2015 and should not be missed.

 

 

 

 

 

11. Circus Of The Dead (Directed by Billy Pon)

Great sense of direction and great acting by Bill Oberst Jr and company. Also, some of the most enjoyable gore gags in years. When it finally gets a release, it is worth a look.

 

 

10. R100 (Directed by Hitoshi Matsumoto)

Like a blend of Quentin Dupieux and Sion Sono, with a little Bunuel on the side. I can’t decide if anything or everything matters (in this film) but there is something so unique and appealing about this film that really sticks with you.

 

9. Headless (Directed by Arthur Cullipher)

Found was one of my favorite movies of last year and this “lost slasher” is a excellent companion piece.  Great effects, fun acting and some of the nastiest kills in the history of cinema.

 

 

 

8. Der Samurai (Directed by Till Kleinert)

A spectacularly violent and mysterious film that feels both existential and playful throughout its run time. This is the kind of movie that requires multiple viewings to truly grasp.

 

7. Flowers (Directed by Phil Stevens)

This is the kind of film that is missing from underground horror lately. A grotesque, but beautifully shot film that mutely tells the story of 6 women and their murderer.

 

 

 

6. Androgynym (Directed by Nick Iway)

 This is a brave movie that does not gloss over things like addiction, loss and self identity.  In fact, it barrels itself directly at it.  There are scenes of extreme and shocking violence, but I hope they do not overshadow the beautiful experience that is Androgynym

5. The Interior (Directed by Trevor Juras)

There is very little when it comes to plot or story and instead focuses on the existential horror of being a young man who may not live long enough to figure out what he wants in life. That is much scarier to me than monsters or masked killers and there is no place better to experience this than deep inside of nature.

 

 

4. Turbo Kid (Directed by François Simard, Anouk Whissell)

In the year 1997…

This is the movie that captures nostalgia without coming off as pandering.

 

 

3. Spring (Directed by Aaron Moorhead, Justin Benson)

A beautifully shot genre bending project from the guys who brought us Resolution.

 

 

 

 

 

2. Bone Tomahawk (Directed by S. Craig Zahler)

If there was any justice in this world this film would sweep the Oscars. From best screenplay to best supporting actor, this film would win it all. This first time effort is everything that a fan of cinema could ask for.

 

 

 

 

 

1. The Tribe (Directed by Miroslav Slaboshpitsky)

“Don’t tell me, show me!” That is my battle cry when watching movies and this film couldn’t tell you if it wanted to. If you do not already know, this movie is told entirely through Ukrainian sign language with no subtitles or voiceover.  It is an unsettling, unique experience that cannot be compared to anything else.  A great example of how a film can transcend genre and language to stands on its own.

Some honorable mentions: Metalhead, The World Of Kanako, Mad Max: Fury Road and Under The Rainbow

Thanks for checking out my list!  Now let us know some of your picks in the comments below!

Blaine McLaren

Lead Writer for Mondo McLaren

Franklin: A Symphony Of Pain (2015)

My favorite thing about being a genre fan is that there is never a shortage of strange, interesting movies to check out.  Every few months I stumble on an oddity filled to the brim with bizarre, original material that reinvigorates my interest and sends me back to the web to find that next hidden gem.  This current gem that I am discussing is this year’s Franklin: A Symphony Of Pain.  It is a psychedelic freakout of faith, sex, torture and self-realization that is unlike anything that you have ever experienced.  The director (Jeremy Westrate) takes the “kitchen sink” approach to storytelling and packs more ideas into this film than a corporate think tank.  In case I am not being clear, this is an ambitious and absolutely batshit crazy flick that needs to be seen to be believed.

This won’t be easy, but I am going to attempt to explain the basic story.  The titular Franklin spends a day out in nature and is quickly abducted by masked occultists who torture and exploit our protagonists until he submits to his pain.  After waking in a new location, he is then assaulted by foul-mouthed 60’s “street toughs” who then beat the breaks off of him again.  These run-ins repeat to differing effect and are inter-cut with hellish vignettes and dialogue with a less than comforting priest.

Each scene reveals a little hint of the developing story and is accompanied by a maddening score of both classical and pop-inspired music.  Colors shift, as well as perspectives and the camera never sits in any kind of static state.  “Break neck” is how I would describe its pace.  With this kind of experimental filmmaking, not everything works.  There are some scenes that may feel a little indulgent, but with a film like this, it is expected.  Actors can be middling to cartoonish, but good writing and spot on camera work makes up for the performer’s shortcomings.  There is very little to compare this film to and that (in itself) is a great reason I recommend this movie.  If you like acid trip cinematography mixed with absurd levels of violence, then this is the flick for you.  Franklin: A Symphony Of Pain is currently available on DVD and Vimeo.

4/5 STARS