The Video Nasties
PAGE 4 |
The List (Page 4)
(Mouse over each image for a list of Alternate Titles)
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The one that started it all - both a seemingly endless string of imitations, and the beginning of Wes Craven's career. A more offensive reworking of Ingmar Bergman's "The Virgin Spring," in which a group of thugs, led by David Hess of the previously mentioned "House on the Edge of the Park", kidnap a pair of teenage girls, and take them into the forest, proceeding to rape and torture them. Soon afterwards, they take refuge for the night at an older couple's house. Coincidentally... well, I'd hate to spoil it for you. Besides, anyone with a passing familiarity with the film is already aware of what transpires during the films final act. "Last House on the Left" is one of the most notorious films on the entire list, and has spawned countless imitators, many of which also appear on the list. There have been countless written records regarding the importance, or lack thereof of “Last House..."; the film was created to shock and offend, and it succeeds marvellously. The overall lack of production values helps create an uneasy, and more realistic atmosphere, thus boosting the films overall effectiveness. Despite the proceedings, the film has a distinctly human element, as each character, including the disgusting villains, have a certain amount of depth and humanity, uncharacteristic of pictures of this type. Its notoriety is well deserved.
Yet another rape-revenge title inspired by Wes Craven's "Last House on the Left", ("Late Night Trains" was originally released under the title, "New House on the Left" when originally released in the US.) After suffering through an incredibly slow-paced and uneventful first act, the viewer is treated to a near identical film to Craven's, albeit more professionally made. While not hitting the viewer over the head with its graphic depiction of violence, the film is much more successful in what it does choose to show. There certainly is no short amount of violence throughout the film, but it is generally not graphically depicted, and the film is all the more effective because of it. Aldo Lado is certainly a master of the filmmaking craft, and it is a bizarre contrast to see such a professional look to a film which deals with such crude subject matter. Certainly one of the nastiest films on the list.
One of the most entertaining films on the list, as well as one of the most effective zombie shockers, possibly ever made. There is a good deal of atmosphere throughout the film, as well as some effectively suspenseful sequences, and some terrifically explicit gore effects. There is also some environmental subtext evident from the opening sequence that does seem slightly out of place in a zombie movie. The film is particularly well made, although certain elements of story are slightly nonsensical, however the film succeeds in more important aspects, such as some atmospheric direction and well done effects by Giannetto Di Rossi. Perhaps there was more than just gore promoting the films inclusion on the DPP's list, as the English police are uncharacteristically intolerant toward nearly everyone, and are developed with almost fascist characteristics.
Perhaps because it was released earlier to several other Nazisploitation pictures, “Love Camp 7” is decidedly less offensive than other films of its ilk. Not really violent, but offensive because of the subject matter. The plot involves a special relief camp for stressed out Nazi's. They attend the camp, and are treated to the ability to rape any number of prisoners they choose. It ends up backfiring, as the prisoners gain control of the camp and act out a little of their own stress relief. One interesting thing of note, is that the movie claims it is based on a true story which has to be a complete lie. 
Characters are devoured by an angry dog, in this boring and undeserving entry. A young woman's disfigured twin sister escapes from an asylum, and starts stalking said woman. There's a little more to it than that, but not much. Unfortunately the murders are rather unimpressive, with only a few sequences really providing a good dose of grue. What is on display is a series of bad effects however, from the noticable use of mannequins in place of real people, to some rather unimpressive gore effects. The film is incredibly slow paced, as director
Ovidio G. Assonitis has no idea how to effectively direct a suspense sequence, and drags each scene on far to long. The finale however, is incredibly impressive, upping both the camp value, and the level of violence. If only for a brief moment, we are witness to what could have been a much more entertaining film. 
“Mardi Gras Massacre” is so bad that not even the appearance of Playboy playmate Laura Misch (as a prostitute, go figure) can help it out. Hell, not even the sight of full frontal nudity can. Not even the killing of countless prostitutes! Now that I think about it, “Mardi Gras Massacre” may not be all that terrible. The Department of Public Prosecutions saw this as fit to ban, and the ban stays until this day, so perhaps that says something for it. In the right mindset, this could be a laughably bad movie, and the gore effects aren't terrible. There is a scene where the killer pulls someone's guts out, which is fairly well-done. I don't know. Perhaps I should try to see this one again.
A doctor transplants the heart of a gorilla into his dying son. This result in, of course, complete mayhem, as the son awakes, finding he's turned into some-sort of man-monkey, complete with hulking biceps, and terrible make-up. The movie is terrible, incorporating both monkey-carnage, involving some surprisingly gory violence, and masked female wrestlers. Everyting about "...Bloody Apes" is hilariously bad. It's inclusion on the nasties list lies in part from the monkey-violence on display throughout the entire film, and partly from the use of genuine heart transplant footage. Only in Mexico, circa 1972, could you find as atrocious a film. I mean that in the best way possible.
"Warning - this film contains scenes of extreme and explicit violence." - This quote taken directly from the box art. James Wasson's low budget 'masterpiece' is an incredibly violent Bigfoot movie. Wasson makes the most of what limited funds he had at the time of the films production. The camerawork and lighting are pretty solid, for a late 70's indie horror film. The acting is, however, horrible, however this certainly adds to the enjoyablility of the film. The violence is both frequent and extreme, culminating in an incredible bloodbath of a finale. Also worth noting, is a scene in which a biker gets his penis ripped off by the Bigfoot. It's a damn shame the film has yet to see a legitimate DVD release in any country.
Some nasty violence bookends this interesting piece about a woman who turns murderous in an attempt to keep her nephew a part of her life. There are some disturbing aspects to this film, mainly some sequences which hint at the Aunt's incestuous intention, though are never actually depicted on screen. There are some satisfyingly violent scenes in the picture, however, it is a particularly violent car accident near the beginning of the film, and a messy ending which stand out. 
Famous horror movie cult hero and gore artist Tom Savini was advertised as being the mastermind behind the gore effects for “Nightmares in a Damaged Brain,” but worked merely as a consultant. That he later sued for this false advertising doesn't change the fact that the gore in the movie is actually quite well done. “Nightmares” is a very serious and dark film, unlike many others of its kind. The fact that it manages to achieve that, and also be completely over-the-top is a unique accomplishment. The final scene is ultra-violent and shocking, even though the movie hints throughout what is going to happen. If you're looking for a good time, stay away. This one stays with you for a while.
Sam Neill and the gorgeous Isabelle Adjani star in Andrzej Zulawski's bizarre and more than just slightly disgusting curiosity piece. Both beautiful and horrific, the film is too leisurely paced for its own good, running just over two hours in its uncut format. Almost 40 minutes were cut upon "Possession's" original release, leaving a disjointed mess of a movie. Fully restored, however, the film makes a little more sense, yet is far too long for its own good. The story is certainly unique, as the plot involves a man who finds out his wife, after leaving him, is having an affair with some sort of tentacled creature. I hesitate to give away any more details, as one of the films charms is in the completely unnatural way it unfolds. Certainly one of the strangest entries on the list, it's surprisingly worthwhile if you have the patience. Banned for its bizarre sexual content.
A group of students, cleaning out a condemned college building over the Christmas season, find themselves stalked by a killer inside the building. Sounds like standard slasher fare, doesn't it? Yes, it does, and there's really nothing here to differentiate the film from other films of its kind. It's really no better or worse, simply average. The deaths are pretty good, if not spectacular, and there is a decent amount of atmosphere, in particular during the cat-and-mouse finale. This is then followed by an effective twist, which is successful despite its own silliness. Worth a look if you can track it down. 
Stacy Keach an Ursula Andress. In a cannibal film. What more could you ask for? Not much as far as cannibal films go. "...Cannibal God" has about as much cannibal violence as you'd expect from any other cannibal film. Including the required nudity, and a scene of castration (apparently, it's a requirement). The film has also gained a lot of the same notoriety the other cannibal films on the list have been subject to, based on the depiction of genuine animal violence. This time a monkey is seen being devoured by a python. It is these sequences that are truly unnerving. "Cannibal God" is a typical cannibal film, nothing more. 
No relation to the modern retelling of “The Boogeyman” (directed by Stephen Kay, and produced by Sam Raimi), this semi-sequel to Uli Lommel's “The Bogey Man” is a true waste of time. I say semi-sequel, because “Revenge of the Bogey Man” consists mainly of footage from the original. It surprises me slightly that “Revenge” got all of the original cast to come back, as cheesy horror sequels rarely keep an ongoing cast, especially when they are as devoid of ambition as this one. For a look at what scenes were worth noting, see “The Bogey Man” which was mentioned earlier in this article. 
The only kung-fu (samurai, technically) movie, to my knowledge, that made the nasties list, “Shogun Assassin” is actually a surprisingly effective edited combination of two films from the “Lone Wolf” series. How this managed to make it on the list, I am not entirely sure, because it seems as though this type of movie was largely disregarded by the D.P.P. That's not to say that it didn't deserve the ban, there is plenty of violence to be had in this super-fun ride of an action picture, including countless severed body parts. Revenge pictures, somehow, are frequently rather enjoyable. It is said the “Lone Wolf” series was inspiration for modern directors like Quentin Tarantino, and it is not difficult to see why. “Shogun Assassin” is pure fun, even after all of these years. It is bloody, but it is never mean-spirited, and also never boring. BACK TO PAGE 3
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