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site update
On this day in 1995 (in the U.S.), Young Blood, Fresh Meat enjoyed its broadcast television premiere. Directed by David DeCoteau from a story by Mark Millenko, Kenneth J. Hall, and Matthew Jason Walsh, the film starred Julie Strain, Raelyn Saalman, Michelle Bauer, and others.
According to our friends at IMDB.com, here's the plot summary:
"A coven of vampires operates out of a modeling/escort agency known as Blonde Heaven. Angie came from Oklahoma to find her way into the movie business, but is followed by her boyfriend Kyle. Head vamp Illyana takes a liking to Angie and convinces her to do escort work for the agency, but has other recruiting plans for her as well. While the vampires do their sleazy work around LA (and Angie gets in over her head), Kyle and a vampire hunter team up to try and stop the fiends."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A coven of vampires operates out of a modeling/escort agency known as Blonde Heaven. Angie came from Oklahoma to find her way into the movie business, but is followed by her boyfriend Kyle. Head vamp Illyana takes a liking to Angie and convinces her to do escort work for the agency, but has other recruiting plans for her as well. While the vampires do their sleazy work around LA (and Angie gets in over her head), Kyle and a vampire hunter team up to try and stop the fiends."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1954 (in Mexico), someone was up to their bewitching ways for the theatrical release of The Witch (aka La Bruja). Written (in part) and directed by Chano Urueta, the film starred Lilia del Valle, Ramón Gay, Julio Villarreal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Thieves break into a scientist's laboratory to steal a secret formula, and in the process they kill his daughter. Enraged, he develops a formula that will turn an extremely ugly woman into a spectacular beauty, and then uses the woman to take his revenge on those responsible for his daughter's murder."
-- EZ
On this day in 1954 (in Mexico), someone was up to their bewitching ways for the theatrical release of The Witch (aka La Bruja). Written (in part) and directed by Chano Urueta, the film starred Lilia del Valle, Ramón Gay, Julio Villarreal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Thieves break into a scientist's laboratory to steal a secret formula, and in the process they kill his daughter. Enraged, he develops a formula that will turn an extremely ugly woman into a spectacular beauty, and then uses the woman to take his revenge on those responsible for his daughter's murder."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1998 (in Japan), Tomie enjoyed its theatrical debut. Written (in part) and directed by Ataru Oikawa, the film starred Miho Kanno, Mami Nakamura, Kae Egawa, and others.
According to our friends at IMDB.com, here's the plot summary:
"A traumatized young woman is trying to recover her memories with the help of a psychiatrist. During her hypnosis sessions, she repeats the name "Tomie" but is unable to recall where she knows it from."
ExtraExtra Alert:
In 2024, I received an all-new home video release of Tomie (1989) from the fine folks at Arrow Films in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
On this day in 1998 (in Japan), Tomie enjoyed its theatrical debut. Written (in part) and directed by Ataru Oikawa, the film starred Miho Kanno, Mami Nakamura, Kae Egawa, and others.
According to our friends at IMDB.com, here's the plot summary:
"A traumatized young woman is trying to recover her memories with the help of a psychiatrist. During her hypnosis sessions, she repeats the name "Tomie" but is unable to recall where she knows it from."
ExtraExtra Alert:
In 2024, I received an all-new home video release of Tomie (1989) from the fine folks at Arrow Films in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in the United Kingdom), All Hallows' Eve 2 stirred up what fright it could with its big screen theatrical debut. An anthology project that was conceived and written by a whole team of writers and directors, the film starred Helen Rogers, Emily Alatalo, Drew Davis, and many others.
According to our friends at IMDB.com, here's the plot summary:
"A woman finds a VHS tape on her doorstep that shows a series of gruesome tales that could be real. But the true danger is the pumpkin-faced killer that's using the tape to find his next victim."
-- EZ
On this day in 2015 (in the United Kingdom), All Hallows' Eve 2 stirred up what fright it could with its big screen theatrical debut. An anthology project that was conceived and written by a whole team of writers and directors, the film starred Helen Rogers, Emily Alatalo, Drew Davis, and many others.
According to our friends at IMDB.com, here's the plot summary:
"A woman finds a VHS tape on her doorstep that shows a series of gruesome tales that could be real. But the true danger is the pumpkin-faced killer that's using the tape to find his next victim."
-- EZ
- Published on
site update
So many movies ... so little time ...
On September 8, 2017 (in Spain), audiences in attendance of the Sitges Film Festival were treated to an exclusive theatrical screening of Housewife. Written (in part) and directed by Can Evrenol, the film starred Clémentine Poidatz, Ali Aksöz, David Sakurai, and others. According to our friends at IMDB.com, here's the plot summary:
"On a snowy eve, Little Holly's sister and father are killed by her frantic mother. Years later, Holly is married, lonely, and her life is soon about take a turn for the ultra weird, when she visits "Umbrella of Love and Mind"."
For the record:
To the film's credit, Housewife earned a wee bit of praise from screenings on the film festival circuit.
-- EZ
On September 8, 2017 (in Spain), audiences in attendance of the Sitges Film Festival were treated to an exclusive theatrical screening of Housewife. Written (in part) and directed by Can Evrenol, the film starred Clémentine Poidatz, Ali Aksöz, David Sakurai, and others. According to our friends at IMDB.com, here's the plot summary:
"On a snowy eve, Little Holly's sister and father are killed by her frantic mother. Years later, Holly is married, lonely, and her life is soon about take a turn for the ultra weird, when she visits "Umbrella of Love and Mind"."
For the record:
To the film's credit, Housewife earned a wee bit of praise from screenings on the film festival circuit.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2016 (in Malaysia), Bornless Ones delivered its signature fright to audiences. Written and directed by Alexsandr Babaev, the film starred Margaret Judson, Devin Goodsell, Michael Johnston, and others.
According to our friends at IMDB.com, here's the plot summary:
"With the help of her friends, Emily moves to a remote home to take better care of her brother, Zack who is diagnosed with cerebral palsy. But what they don't know is that the house kept a terrifying secret that will haunt them one by one."
-- EZ
On this day in 2016 (in Malaysia), Bornless Ones delivered its signature fright to audiences. Written and directed by Alexsandr Babaev, the film starred Margaret Judson, Devin Goodsell, Michael Johnston, and others.
According to our friends at IMDB.com, here's the plot summary:
"With the help of her friends, Emily moves to a remote home to take better care of her brother, Zack who is diagnosed with cerebral palsy. But what they don't know is that the house kept a terrifying secret that will haunt them one by one."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1989 (in Spain), audiences in attendance of the Sitges Film Festival were treated to the first theatrical presentation ever of Black Rainbow. Written and directed for the screen by Mike Hodges, the film starred Rosanna Arquette, Jason Robards, Tom Hulce, and others.
According to our friends at IMDB.com, here's the plot summary:
"A medium has a vision of a hit-man killing his target. The vision comes true, and the same hit-man is assigned to kill her. Her drunk father/manager doesn't believe she has the gift, and a curious journalist tries to protect her."
For the record:
To the film's credit, Black Rainbow created a good bit of extra promotion from positive screenings on the film festival circuit.
-- EZ
On this day in 1989 (in Spain), audiences in attendance of the Sitges Film Festival were treated to the first theatrical presentation ever of Black Rainbow. Written and directed for the screen by Mike Hodges, the film starred Rosanna Arquette, Jason Robards, Tom Hulce, and others.
According to our friends at IMDB.com, here's the plot summary:
"A medium has a vision of a hit-man killing his target. The vision comes true, and the same hit-man is assigned to kill her. Her drunk father/manager doesn't believe she has the gift, and a curious journalist tries to protect her."
For the record:
To the film's credit, Black Rainbow created a good bit of extra promotion from positive screenings on the film festival circuit.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Attack Of The Corn Zombies:
From the film’s IMDB.com page citation:
“In 1969, contaminated corn causes a zombie outbreak in a small Midwest town. Isolated and surrounded, a group struggles to survive the hordes to live another day.”
Now, there’s low budget; and then there’s no budget.
The truth – so far as it truly matters – is that one need not know how much was spent on a motion picture to appreciate what it does or can do; but the prevailing evidence continues to show that when little to nothing is spent on a project the cast and crew have to understandably work much harder to convey a story worth listening to. The mechanics of world-building don’t require an investment of capital; and yet such an expenditure usually means that watchers will have it easier to seeing why a certain flick is worth their own time and effort.
Okay. This brings us to Attack Of The Corn Zombies (2023).
Corn Zombies is the – ahem – love child of Acrostar Films, an award-winning independent company out of the great American Midwest (Chicago, I believe); and – on one level – it shows. The feature is the kind of fast and loose entertainment that comes out of the bread box of the United States’ backyard; and I say this as one who grew up in the great state of Illinois myself. It may not have the Right or Left Coast spit and polish – the kind of glitz and glamor usually attributed to pictures that come from territories long held to be intellectually and artistically superior; but that doesn’t mean this nifty li’l 60+ minute Chiller isn’t worth a look.
Essentially, it’s a bare bones story about what happens when a zombie outbreak – apparently tied to consumption of a crop of corn fertilized with some all-new chemical combination – runs reasonably wild in some small backwoods town. Audiences should brace for the fact that they’re not going to be overwhelmed with hordes upon hordes of lumbering walkers hellishly devouring their friends and neighbors; instead, there’s a basic gang of rather ordinary-looking folksy types – most likely the crew of irregulars from the nearby community theater – reaching out to touch and chew their fellow men, women, and children. This isn’t high art. This isn’t anything new. It’s been done before – maybe not on this budget – but it is what it is.
That said, make-up effects are … erm … good enough to work but likely won’t be receiving any citations come awards season. Screenwriter Steve Herman – who co-directs with Ashley Hefner – posits a story of the village’s quick and sudden turn into zombified cannibalism, and he offers very little padding for things like characterization, social commentary, and visual exposition. Granted, all of this might’ve worked a bit better had all involved decided on which zombie archetype was preferred and stuck with it – the film weirdly combines the slow-marching Romero version (from his earlier efforts) along with the 28 Days Later kind that has vastly superior motor and cardio skills – but I rarely nitpick indie fare.
Tonally, Attack is a bit of a mess, though, and that may be my most brutal observation.
Attack Of The Corn Zombies:
From the film’s IMDB.com page citation:
“In 1969, contaminated corn causes a zombie outbreak in a small Midwest town. Isolated and surrounded, a group struggles to survive the hordes to live another day.”
Now, there’s low budget; and then there’s no budget.
The truth – so far as it truly matters – is that one need not know how much was spent on a motion picture to appreciate what it does or can do; but the prevailing evidence continues to show that when little to nothing is spent on a project the cast and crew have to understandably work much harder to convey a story worth listening to. The mechanics of world-building don’t require an investment of capital; and yet such an expenditure usually means that watchers will have it easier to seeing why a certain flick is worth their own time and effort.
Okay. This brings us to Attack Of The Corn Zombies (2023).
Corn Zombies is the – ahem – love child of Acrostar Films, an award-winning independent company out of the great American Midwest (Chicago, I believe); and – on one level – it shows. The feature is the kind of fast and loose entertainment that comes out of the bread box of the United States’ backyard; and I say this as one who grew up in the great state of Illinois myself. It may not have the Right or Left Coast spit and polish – the kind of glitz and glamor usually attributed to pictures that come from territories long held to be intellectually and artistically superior; but that doesn’t mean this nifty li’l 60+ minute Chiller isn’t worth a look.
Essentially, it’s a bare bones story about what happens when a zombie outbreak – apparently tied to consumption of a crop of corn fertilized with some all-new chemical combination – runs reasonably wild in some small backwoods town. Audiences should brace for the fact that they’re not going to be overwhelmed with hordes upon hordes of lumbering walkers hellishly devouring their friends and neighbors; instead, there’s a basic gang of rather ordinary-looking folksy types – most likely the crew of irregulars from the nearby community theater – reaching out to touch and chew their fellow men, women, and children. This isn’t high art. This isn’t anything new. It’s been done before – maybe not on this budget – but it is what it is.
That said, make-up effects are … erm … good enough to work but likely won’t be receiving any citations come awards season. Screenwriter Steve Herman – who co-directs with Ashley Hefner – posits a story of the village’s quick and sudden turn into zombified cannibalism, and he offers very little padding for things like characterization, social commentary, and visual exposition. Granted, all of this might’ve worked a bit better had all involved decided on which zombie archetype was preferred and stuck with it – the film weirdly combines the slow-marching Romero version (from his earlier efforts) along with the 28 Days Later kind that has vastly superior motor and cardio skills – but I rarely nitpick indie fare.
Tonally, Attack is a bit of a mess, though, and that may be my most brutal observation.
Setting the tale as he did in the last 1960’s, I suspect Herman was attempting an homage (or sorts) to the aforementioned Romero who signature Horror picture – Night Of The Living Dead – first terrified audiences in 1968. Going so far as to give his key actors and actresses clothes and – ahem – hairstyles and/or wigs to constantly remind viewers that these were kinder, simpler days ends up giving the entire piece a comic underlay. Given that I’ve seen nowhere that Attack was intended as a Horror/Comedy though very much feels (at least to this viewer) as if I wasn’t supposed to take it seriously in any respect tells me what was sought and what was delivered is out of sync.
Frankly, I would’ve gone and stuck with the humor as – given the budgetary restrictions – I think even greater laughs could’ve elevated this one beyond feeling like a bargain basement DVD effort to the level of maybe a regional Cult(ish) surprise. There’s absolutely nothing wrong with it otherwise, except the blatantly obvious inexpensive veneer. The onscreen talent stayed in character – so far as it mattered – even with some barbs and quips that needed greater distinction. Sure, it ain’t Hollywood … but it never tries to be anything greater than what it is.
Disagree if you like, but I’ve always said there’s some nobility in that.
Plus, young Magdalena Conway steals every scene she’s in. Having married my Midwestern sweetheart, I’m a sucker for one every time I see ‘em.
Return Of The Corn Zombies (2025):
From the film’s IMDB.com page citation:
“In a world ravaged by a corn virus that creates zombies, a band of survivors embarks on a perilous journey. Their destination: Homestead, a sanctuary that promises safety amidst the chaos. As they battle the undead, hope drives forward.”
As a sequel to 2023’s Attack Of The Corn Zombies, Return is a vastly, vastly, VASTLY different film. Naturally, there’s good and bad with that. Given the kinda/sorta goofy and off the beaten path appeal of the original, I went in expecting something different than the overlong, dry, retread of storylines already brought to life on AMC’s The Walking Dead which this film seems to be recreating. Why? Why go all-in in what seems both a new direction from the predecessor as well as thematically copy what’s been done before – if not to death (pardon the pun) – in zombie pictures? It just seems like a big miss.
While not perfectly spelled out, the sense here is that Return is set in the same universe a good number of years after Attack; and there are no crossover characters. (That makes sense given the survival rate of the first, but I digress …) There are some crossover talent – in different roles as well as likely behind-the-scenes – so perhaps it’s better to think as the two films as spiritually-related as opposed to direct sequels if that kind of thing matters to you. (I know it does to me, and that’s the only reason I bring it up.) But tonally these pictures are worlds apart.
Return is far more the old-fashioned tale of survival story that creeps its way into perhaps every traditional undead flick. It’s written for and about those who come after the Apocalypse happens, and the leftovers – the good, the bad, and the ugly – aren’t so much picking up the pieces of civilization as they’re left to scavenge what’s usable amongst them. With small towns being rural enclaves on the outskirts of what passes for livable humanity, there isn’t much; and that’s the central force this crew is up against. Because we’ve seen all of these prototypes before, there’s just no freshness to any of it.
In fact, I’d honestly argue that Return – while a more interesting story – could’ve stood up on its own two feet by making its band of travelers grubbier. Everything is far too neat and clean in here, and there’s no functioning aesthetic which makes audiences believe that civilization has come and fallen … other than the fact that we’re basically told such is the case. This kind of exposition – even when delivered softly as it is here – just never works unless the visuals convince us of what’s to be expected. It never does – nor do the performers really distinguish themselves – and it’s the lesser picture despite being more serious than the original.
Frankly, I would’ve gone and stuck with the humor as – given the budgetary restrictions – I think even greater laughs could’ve elevated this one beyond feeling like a bargain basement DVD effort to the level of maybe a regional Cult(ish) surprise. There’s absolutely nothing wrong with it otherwise, except the blatantly obvious inexpensive veneer. The onscreen talent stayed in character – so far as it mattered – even with some barbs and quips that needed greater distinction. Sure, it ain’t Hollywood … but it never tries to be anything greater than what it is.
Disagree if you like, but I’ve always said there’s some nobility in that.
Plus, young Magdalena Conway steals every scene she’s in. Having married my Midwestern sweetheart, I’m a sucker for one every time I see ‘em.
Return Of The Corn Zombies (2025):
From the film’s IMDB.com page citation:
“In a world ravaged by a corn virus that creates zombies, a band of survivors embarks on a perilous journey. Their destination: Homestead, a sanctuary that promises safety amidst the chaos. As they battle the undead, hope drives forward.”
As a sequel to 2023’s Attack Of The Corn Zombies, Return is a vastly, vastly, VASTLY different film. Naturally, there’s good and bad with that. Given the kinda/sorta goofy and off the beaten path appeal of the original, I went in expecting something different than the overlong, dry, retread of storylines already brought to life on AMC’s The Walking Dead which this film seems to be recreating. Why? Why go all-in in what seems both a new direction from the predecessor as well as thematically copy what’s been done before – if not to death (pardon the pun) – in zombie pictures? It just seems like a big miss.
While not perfectly spelled out, the sense here is that Return is set in the same universe a good number of years after Attack; and there are no crossover characters. (That makes sense given the survival rate of the first, but I digress …) There are some crossover talent – in different roles as well as likely behind-the-scenes – so perhaps it’s better to think as the two films as spiritually-related as opposed to direct sequels if that kind of thing matters to you. (I know it does to me, and that’s the only reason I bring it up.) But tonally these pictures are worlds apart.
Return is far more the old-fashioned tale of survival story that creeps its way into perhaps every traditional undead flick. It’s written for and about those who come after the Apocalypse happens, and the leftovers – the good, the bad, and the ugly – aren’t so much picking up the pieces of civilization as they’re left to scavenge what’s usable amongst them. With small towns being rural enclaves on the outskirts of what passes for livable humanity, there isn’t much; and that’s the central force this crew is up against. Because we’ve seen all of these prototypes before, there’s just no freshness to any of it.
In fact, I’d honestly argue that Return – while a more interesting story – could’ve stood up on its own two feet by making its band of travelers grubbier. Everything is far too neat and clean in here, and there’s no functioning aesthetic which makes audiences believe that civilization has come and fallen … other than the fact that we’re basically told such is the case. This kind of exposition – even when delivered softly as it is here – just never works unless the visuals convince us of what’s to be expected. It never does – nor do the performers really distinguish themselves – and it’s the lesser picture despite being more serious than the original.
Attack Of The Corn Zombies (2023) was produced by Acrostar Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Bayview Entertainment. As for the technical specifications? While I’m no trained video expert, I can still assure you that one probably couldn’t have a budget lower – except for wigwear. A great deal of the action both looks and sounds like the family camera was used: even though that may not have been the case, there’s really no escaping that milieu. Lastly, if you’re looking for special features? Sadly, there ain’t a one!
Return Of The Corn Zombies (2025) was produced by Acrostar Films and Stag Mountain Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Bayview Entertainment. As for the technical specifications? While I’m no trained video expert, I can attest that Return both looks and sounds better than the original. I’m thinking that as this one is credited as being a co-production that perhaps better equipment was available (???). Lastly, if you’re looking for special features? Again, there ain’t a one!
Alas … only Mildly Recommended.
As I’ve written before about my affinity for indie filmmaking, I’ve no problem saying that neither Attack Of The Corn Zombies (2023) or Return Of The Corn Zombies (2025) approach the level of quality most living and breathing folks expect from their pictures; and yet I still found some modest entertainment in both of them. Folks scrolling through their preferred streaming platform queues might stumble and them and give them a chance, but – gasp! – ordinary folks might be taken aback by just how dispensable so much of them remain. Regardless, I’ve no doubt that amongst those who made these offtrack chillers that they’re held in respectably high esteem. Though they’ll likely always lack real breakout potential, I’ll still give praise – and reflective criticism, good and bad – for the effort being expended. These are not for everyone … but fans of real indie fare might take a shine to ‘em.
In the interests of fairness, I’m pleased to disclose that the fine folks at Bayview Entertainment (via Allied Vaughn) provided me with a complimentary Blu-ray of Zombie Double Feature (2023’s Attack Of The Corn Zombies & 2025’s Return Of The Corn Zombies) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Return Of The Corn Zombies (2025) was produced by Acrostar Films and Stag Mountain Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Bayview Entertainment. As for the technical specifications? While I’m no trained video expert, I can attest that Return both looks and sounds better than the original. I’m thinking that as this one is credited as being a co-production that perhaps better equipment was available (???). Lastly, if you’re looking for special features? Again, there ain’t a one!
Alas … only Mildly Recommended.
As I’ve written before about my affinity for indie filmmaking, I’ve no problem saying that neither Attack Of The Corn Zombies (2023) or Return Of The Corn Zombies (2025) approach the level of quality most living and breathing folks expect from their pictures; and yet I still found some modest entertainment in both of them. Folks scrolling through their preferred streaming platform queues might stumble and them and give them a chance, but – gasp! – ordinary folks might be taken aback by just how dispensable so much of them remain. Regardless, I’ve no doubt that amongst those who made these offtrack chillers that they’re held in respectably high esteem. Though they’ll likely always lack real breakout potential, I’ll still give praise – and reflective criticism, good and bad – for the effort being expended. These are not for everyone … but fans of real indie fare might take a shine to ‘em.
In the interests of fairness, I’m pleased to disclose that the fine folks at Bayview Entertainment (via Allied Vaughn) provided me with a complimentary Blu-ray of Zombie Double Feature (2023’s Attack Of The Corn Zombies & 2025’s Return Of The Corn Zombies) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“When a government official disappears in the London tunnels, after several reports of missing people in the same location, Scotland Yard start to take the matter seriously, along with a couple who stumble into a victim by accident.”
Honestly, Raw Meat (1972) was a flick that – for a very long time – I’d never even heard about.
That isn’t necessarily unusual. Some of it was owed to a name change, and the rest is chalked up to the reality that no single person can clearly know everything about every production around the world ever; so please don’t read too much into that admission. But on the commentary track for 1981’s Dead & Buried – a very solid atmospheric Horror that was directed by Gary Sherman (reviewed here) – it was mentioned several times, most of which were by only loose associations (except for Sherman’s involvement in both), so I took note. I did a bit of digging at that time and discovered it under its original title – Death Line – and started actively seeking out where it was available for viewing. Alas, that turned fruitless, so I’d all but forgotten about it again … until it was presented to me via the fine folks at Blue Underground with an opportunity to watch and review for their 2025 pressing.
Of course, I’m glad to announce that such a circuitous path was rather richly rewarded yesterday when I put the disc in for a spin. Like so many Horror films of the bygone days, Raw has several raw elements – somewhat campy performances (even one surprisingly by a big-name talent), some rather bloated editing (or lack thereof) here and there, and an occasionally bizarre musical score in a few spots. However, as to the final regard? Wowza. Raw Meat is actually a very good Thriller/Chiller, one that might be a bit hard-to-swallow as to how this band of subterranean cannibals beneath the London subways went unnoticed for so long but manages to hold up otherwise quite well, including a wonderfully underplayed top role by the late Donald Pleasence.
From the film’s IMDB.com page citation:
“When a government official disappears in the London tunnels, after several reports of missing people in the same location, Scotland Yard start to take the matter seriously, along with a couple who stumble into a victim by accident.”
Honestly, Raw Meat (1972) was a flick that – for a very long time – I’d never even heard about.
That isn’t necessarily unusual. Some of it was owed to a name change, and the rest is chalked up to the reality that no single person can clearly know everything about every production around the world ever; so please don’t read too much into that admission. But on the commentary track for 1981’s Dead & Buried – a very solid atmospheric Horror that was directed by Gary Sherman (reviewed here) – it was mentioned several times, most of which were by only loose associations (except for Sherman’s involvement in both), so I took note. I did a bit of digging at that time and discovered it under its original title – Death Line – and started actively seeking out where it was available for viewing. Alas, that turned fruitless, so I’d all but forgotten about it again … until it was presented to me via the fine folks at Blue Underground with an opportunity to watch and review for their 2025 pressing.
Of course, I’m glad to announce that such a circuitous path was rather richly rewarded yesterday when I put the disc in for a spin. Like so many Horror films of the bygone days, Raw has several raw elements – somewhat campy performances (even one surprisingly by a big-name talent), some rather bloated editing (or lack thereof) here and there, and an occasionally bizarre musical score in a few spots. However, as to the final regard? Wowza. Raw Meat is actually a very good Thriller/Chiller, one that might be a bit hard-to-swallow as to how this band of subterranean cannibals beneath the London subways went unnoticed for so long but manages to hold up otherwise quite well, including a wonderfully underplayed top role by the late Donald Pleasence.
Now, I’ve often pointed out that Horror – as a genre – is all too often plagued by the fact that its stories rely far too much on convenience, especially when situated in big cities. On that front, Raw is no different. Simply put, there are far, far, far too many people to be walking about these utterly massive and sprawling urban environments for a reasonable person to believe the same villainy would statistically strike the same man and woman twice in so short a timeframe. (That’ll make more sense once you’ve seen it.) Raw’s script – attributed to Ceri Jones and Sherman (who also directed) – capitalizes on that trope in order to tie all of the action together; and, yes, it’s a narrative weakness. Still, set that little quirk aside and what emerges is – as I said – a very plausible yarn that should have every watcher glaring into the dark end of the tunnel and fearful of what might lie in the shadows … hungry …
Late one evening at the Russell Square station, American university student Alex Campbell (played by David Ladd) and his live-in gal pal Patricia Wilson (Sharon Gurney) stumble across a well-dressed fallen unconscious man on the stairs; and they head up to alert the police. Once Alex returns with an officer, he’s shocked to find that James Manfred, OBE (James Cossins) has all but disappeared. Following proper procedure, Alex and Patricia are taken to headquarters to be further questioned as well as file a report, but the somewhat crusty Inspector Calhoun (Donald Pleasence) believes it’s little more than a case of tomfoolery or an honest misunderstanding. He rather abruptly dismisses it, allowing the student and his girlfriend to get off with a bit of a warning.
Calhoun has a change of heart in the morning once he learns that Manfred has failed to report to work. He and his assistant Sergeant Rogers (Norman Rossington) begin looking into Manfred’s disappearance a bit further only to then be summarily dismissed from the case any further by Mr. Stratton-Villiers (Christopher Lee) of MI-5, London’s counter-intelligence agency tasked with handling issues of terrorism or other state threats. Naturally, the agency’s sudden interest in what he originally discharged as a potential prank further tweaks Calhoun’s professional curiosity. As such, he and Rogers continue pursuing leads of their own accord.
Late one evening at the Russell Square station, American university student Alex Campbell (played by David Ladd) and his live-in gal pal Patricia Wilson (Sharon Gurney) stumble across a well-dressed fallen unconscious man on the stairs; and they head up to alert the police. Once Alex returns with an officer, he’s shocked to find that James Manfred, OBE (James Cossins) has all but disappeared. Following proper procedure, Alex and Patricia are taken to headquarters to be further questioned as well as file a report, but the somewhat crusty Inspector Calhoun (Donald Pleasence) believes it’s little more than a case of tomfoolery or an honest misunderstanding. He rather abruptly dismisses it, allowing the student and his girlfriend to get off with a bit of a warning.
Calhoun has a change of heart in the morning once he learns that Manfred has failed to report to work. He and his assistant Sergeant Rogers (Norman Rossington) begin looking into Manfred’s disappearance a bit further only to then be summarily dismissed from the case any further by Mr. Stratton-Villiers (Christopher Lee) of MI-5, London’s counter-intelligence agency tasked with handling issues of terrorism or other state threats. Naturally, the agency’s sudden interest in what he originally discharged as a potential prank further tweaks Calhoun’s professional curiosity. As such, he and Rogers continue pursuing leads of their own accord.
What the police officers eventually uncover are hints to a scandal involving the original construction of the London Underground. According to local legend, the Russell Square station has been tied back to a tale of railway workers who were trapped in a cave-in but allegedly survived by hunting and feeding off the usual vermin as well as other unfortunate souls trapped in the remaining space. Even Calhoun and Rogers find the possibility a bit far-fetched and choose to let their investigation end … only they’re aghast to find out that young Patricia has no gone missing one evening after taking the last train home, leaving Alex to head into the subterranean caves to find her.
So … yes, Raw suffers from a bit of contrivance, the twist that would have our fetching young British lady in the – ahem – wrong place at the wrong time not once but twice. As I’ve mentioned, Horrors in particular over the years have relied on such expediency mostly because writers don’t see the need to craft all-new players for what might be the second-half of an otherwise competent terror. Furthermore, it’s another screenwriter’s trick that allows for a somewhat fallen hero to get a bit of redemption: with the original discovery of Manfred’s sleeping body, Alex didn’t want to get involved in any way, and he tried putting off Patricia by saying the old man was likely a drunkard or a fool on some other self-serving binge. But bookending the entire film with the young couple works well enough to bring the story full circle even if such a balanced reality is pretty much reserved for only in filmdom.
As a director, Sherman invests a great deal of cinematography is fleshing out (pun intended) the hidden lair of his cannibal tribe. Production designer (art director) Denis Gordon-Orr makes fabulous use of the space, splashing about hints of a kinda/sorta subterranean culture developing all of its own while being cut-off from civilization at large. It’s at the both times enlightening as well as minorly disturbing; and – given the fact that we learn that its evolved down to the last inhabitant (Hugh Armstrong simply credited as ‘the Man’) – it’s arguably even a bit saddening. He’s grown into adulthood without the ability to communicate beyond the skills of what primitive peoples might possess – a bit of a incongruity chronologically given that he apparently grew up around others who more likely would’ve taught him – and in a few sequences the performance likely earns even a modest bit of the audience’s sympathy.
Stylistically, Sherman commits to several long sequences throughout the picture; and, personally, I think his creative choice slows down the pace. While everything comes in at under the widely-preferred 90-minute running time (for Horror), a trim here and there would’ve served the ends better. After awhile it isn’t as if seeing anything more of the lair’s dire environment expanded upon much that the audience didn’t already know. Perhaps the attachment to working so hard to achieve the look kept him always choosing for more instead of less in the editing booth; but – as I often say at this juncture – to each his own.
So … yes, Raw suffers from a bit of contrivance, the twist that would have our fetching young British lady in the – ahem – wrong place at the wrong time not once but twice. As I’ve mentioned, Horrors in particular over the years have relied on such expediency mostly because writers don’t see the need to craft all-new players for what might be the second-half of an otherwise competent terror. Furthermore, it’s another screenwriter’s trick that allows for a somewhat fallen hero to get a bit of redemption: with the original discovery of Manfred’s sleeping body, Alex didn’t want to get involved in any way, and he tried putting off Patricia by saying the old man was likely a drunkard or a fool on some other self-serving binge. But bookending the entire film with the young couple works well enough to bring the story full circle even if such a balanced reality is pretty much reserved for only in filmdom.
As a director, Sherman invests a great deal of cinematography is fleshing out (pun intended) the hidden lair of his cannibal tribe. Production designer (art director) Denis Gordon-Orr makes fabulous use of the space, splashing about hints of a kinda/sorta subterranean culture developing all of its own while being cut-off from civilization at large. It’s at the both times enlightening as well as minorly disturbing; and – given the fact that we learn that its evolved down to the last inhabitant (Hugh Armstrong simply credited as ‘the Man’) – it’s arguably even a bit saddening. He’s grown into adulthood without the ability to communicate beyond the skills of what primitive peoples might possess – a bit of a incongruity chronologically given that he apparently grew up around others who more likely would’ve taught him – and in a few sequences the performance likely earns even a modest bit of the audience’s sympathy.
Stylistically, Sherman commits to several long sequences throughout the picture; and, personally, I think his creative choice slows down the pace. While everything comes in at under the widely-preferred 90-minute running time (for Horror), a trim here and there would’ve served the ends better. After awhile it isn’t as if seeing anything more of the lair’s dire environment expanded upon much that the audience didn’t already know. Perhaps the attachment to working so hard to achieve the look kept him always choosing for more instead of less in the editing booth; but – as I often say at this juncture – to each his own.
I’d be remiss if I didn’t point out how well Pleasence plays the lead here. (Again, others might disagree with who the main character truly is in this dark tale.) I’d never seen him in anything like this before – a bit of a fuss-bucket and/or authoritarian contrarian more concerned about where his next cup of tea is coming from than much else – and he was both delightful and looked like he might’ve been having fun as a bit of a dandy. Thematically, he crosses foils with the great Christopher Lee, an interesting collision more because of who Lee was as a talent at that stage of his career than anything else; and I’m honestly surprised the man would’ve taken such a small and insignificant role on his shoulders. Mind you: I don’t think it would’ve been as good by another actor (his gravitas was absolutely needed for the dynamics of their exchange), but I’m still amazed.
Raw Meat (aka Death Line) (1972) was produced by Harbor Ventures and K-L Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Blue Underground. As for the technical specifications? While I’m no trained video expert, I can still assure you that this brand-new 4K restoration looks and sounds fabulous: there’s some grain in the darker sequences, but my experience is that such minor deficiencies are a bit common with film of this age. Lastly, if you’re looking for special features? This 2-disc set offers up an archival commentary along with a new one along with an assortment of extras that truly make this a solid purchase if you’re into that kind of thing.
Strongly Recommended.
Realizing that my tastes of what works and what doesn’t is markedly different than most who cover Horror releases, I’ll confess that I had a lot of fun with Raw Meat (1972) even though director Sherman had a slowed down a bit too much in a few spots. The story has a taste of what generally gives like-minded fare a bad name (some mild predictability and the kinda/sorta overused victim mentality), but those failings are small by comparison to the ambition of bringing an urban legend to life. If anything, maybe Sherman and friends revealed their ‘villain’ a bit too soon; but that disclosure comes more so as a consequence of the way this story is told, meaning that there’s no startling conclusion. It’s grim, yes, but it still feels a bit too much ‘as scripted’ for my cannibalistic tastes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Blue Underground provided me with a complimentary Blu-ray of Raw Meat (1972) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Raw Meat (aka Death Line) (1972) was produced by Harbor Ventures and K-L Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Blue Underground. As for the technical specifications? While I’m no trained video expert, I can still assure you that this brand-new 4K restoration looks and sounds fabulous: there’s some grain in the darker sequences, but my experience is that such minor deficiencies are a bit common with film of this age. Lastly, if you’re looking for special features? This 2-disc set offers up an archival commentary along with a new one along with an assortment of extras that truly make this a solid purchase if you’re into that kind of thing.
Strongly Recommended.
Realizing that my tastes of what works and what doesn’t is markedly different than most who cover Horror releases, I’ll confess that I had a lot of fun with Raw Meat (1972) even though director Sherman had a slowed down a bit too much in a few spots. The story has a taste of what generally gives like-minded fare a bad name (some mild predictability and the kinda/sorta overused victim mentality), but those failings are small by comparison to the ambition of bringing an urban legend to life. If anything, maybe Sherman and friends revealed their ‘villain’ a bit too soon; but that disclosure comes more so as a consequence of the way this story is told, meaning that there’s no startling conclusion. It’s grim, yes, but it still feels a bit too much ‘as scripted’ for my cannibalistic tastes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Blue Underground provided me with a complimentary Blu-ray of Raw Meat (1972) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
press release
September 30, 2025 – Cinephobia Releasing is proud to announce the release of director Marcel Walz’s (That’s A Wrap, Pretty Boy) and writer Joe Knetter’s (George A. Romero’s Twilight of the Dead) latest feature Brute 1976. The film is now available on VOD, digital platforms including Amazon Prime Video, Apple TV, Google Play, Vimeo on Demand, and YouTube Movies.
”Brute 1976 is bloody and sexy, with a deranged family so demented they make John Waters’s Pink Flamingos look like a paradigm of family values,” said Cinephobia President Raymond Murray. “Brute 1976 restored my faith in horror that shocks.”
An homage to ‘70s horror cult classics The Texas Chainsaw Massacre and The Hills Have Eyes. Brute 1976 takes place in 1976, when Raquel and her girlfriend have car trouble and break down on the side of the road in the middle of nowhere. At the same time, a group of people are in the desert for a photoshoot. Soon, they stumble upon an abandoned town where a family of masked psychopaths reside.
“I’ve always been a huge fan of The Texas Chain Saw Massacre and The Hills Have Eyes, both the originals and remakes” said Walz. “Brute 1976 was an amazing experience to shoot: It was hot, it was dirty and it was bloody. I’m sure the audience will feel that on screen.”
"We are so excited to have Brute 1976, our modern take on the 70s horror films we love so much, in the hands of Cinephobia for it's North American release”, said Knetter. “We look forward to everyone experiencing the Birdy family in all their gory glory."
Brute 1976 stars Adriane McLean (Miracles of Christmas), Sarah French (Blind), Gigi Gustin (The Retaliators), Dazelle Yvette (Garden of Eden) and Adam Bucci (NCIS Los Angeles). From production company Neon Noir, Marcel Walz, Joe Knetter, and Sarah French produced, with Dirk Schürmann and Tobias Schürman serving as Executive Producers. Robert Kern III (Prey, Creepypasta) provided makeup effects, and Marcus Friedlander (The Getback) served as Director of Photography.
About Cinephobia Releasing:
Launched by Ray Murray, founder of TLA Releasing and Artsploitation Films, Cinephobia Releasing is dedicated to presenting the most eye-opening genre and LGBTQ+ movies from around the world.
”Brute 1976 is bloody and sexy, with a deranged family so demented they make John Waters’s Pink Flamingos look like a paradigm of family values,” said Cinephobia President Raymond Murray. “Brute 1976 restored my faith in horror that shocks.”
An homage to ‘70s horror cult classics The Texas Chainsaw Massacre and The Hills Have Eyes. Brute 1976 takes place in 1976, when Raquel and her girlfriend have car trouble and break down on the side of the road in the middle of nowhere. At the same time, a group of people are in the desert for a photoshoot. Soon, they stumble upon an abandoned town where a family of masked psychopaths reside.
“I’ve always been a huge fan of The Texas Chain Saw Massacre and The Hills Have Eyes, both the originals and remakes” said Walz. “Brute 1976 was an amazing experience to shoot: It was hot, it was dirty and it was bloody. I’m sure the audience will feel that on screen.”
"We are so excited to have Brute 1976, our modern take on the 70s horror films we love so much, in the hands of Cinephobia for it's North American release”, said Knetter. “We look forward to everyone experiencing the Birdy family in all their gory glory."
Brute 1976 stars Adriane McLean (Miracles of Christmas), Sarah French (Blind), Gigi Gustin (The Retaliators), Dazelle Yvette (Garden of Eden) and Adam Bucci (NCIS Los Angeles). From production company Neon Noir, Marcel Walz, Joe Knetter, and Sarah French produced, with Dirk Schürmann and Tobias Schürman serving as Executive Producers. Robert Kern III (Prey, Creepypasta) provided makeup effects, and Marcus Friedlander (The Getback) served as Director of Photography.
About Cinephobia Releasing:
Launched by Ray Murray, founder of TLA Releasing and Artsploitation Films, Cinephobia Releasing is dedicated to presenting the most eye-opening genre and LGBTQ+ movies from around the world.