by Steve Habrat
Among the many sleazy horror subgenres out there, one of the most popular of the late 1970s and ‘80s was the slasher film. Grindhouse theaters and rundown drive-ins were bombarded with masked psychos wielding a number of assorted kitchen utensils or power tools ranging from machetes, cutting knives, chain saws, meat cleavers, and more. While major Hollywood studios were only responsible for a small number of these slasher films, a good majority of them were released through small independent studios looking to capitalize on the popularity of films like The Texas Chain Saw Massacre, Black Christmas, and Halloween. Many of these films were artless and depraved, riddled with senseless blood, guts, and gratuitous nudity—things that were not heavily present in any of the films that inspired these knockoffs. Today, a large number of these cheap exploitation slashers are lost in the sands of time, but there are still some that have amassed respectable cult followings. One such cult slasher would be director William Lustig’s 1980 exploitation classic Maniac, an urban nightmare that appealed to 42nd Street crowds due to its unflinching violence and gore. While it may not enjoy the popularity of, say, Halloween, Maniac is still popular enough that it finally earned itself a remake makeover. Now we have director Frank Khalfoun’s Maniac, a surprisingly harrowing, disturbing, and frighteningly vicious horror film produced and written by French horror director Alexandre Aja.
Maniac places us in the shoes of Frank Zito (played by Elijah Wood), a soft-spoken loner who manages a mannequin shop that was left to him by his abusive late mother, Angela (played by America Olivio), who also worked as a prostitute on the side. Traumatized by his mother’s treatment towards him, Frank takes to the streets and stalks down beautiful young women who he murders and scalps with a hunting knife. One day, Frank meets a young upcoming photographer named Anna (played by Nora Arnezeder), who is interested in photographing the mannequins inside Frank’s shop. The two immediately strike up a friendship, but soon, Frank takes a liking to the beautiful artist. One evening, Frank and Anna go on a date to the movies, but after the date, Frank is devastated to learn that Anna has a boyfriend. Frank struggles to maintain the friendship, but after humiliating encounters with Anna’s boyfriend, Jason (played by Sammi Rotibi), and her mentor, Rita (played by Jan Broberg), he snaps and looses his tiny grip on reality, which puts Anna in serious danger.
Where most horror remakes refuse to do anything new or inspired with the material they are updating, Khalfoun’s Maniac dares to get creative with its style. The original Maniac was told in a fairly straightforward manner, although, we were asked to root for the bad guy of the story, something that does indeed make the viewer’s skin crawl. Maniac 2013 asks the same thing of the audience, but it takes it a step further and presents the action from the POV of Frank. The idea that we are peering through Frank’s eyes is undeniably creepy, and since we are inside his head, we are unable to escape from his demons. At times, Khalfoun blurs the picture, distorts sound, or descends into the surreal, offering up rattling hallucinations that really do a fine job of showing off Frank’s unstable condition. This POV presentation also gives the violence a razor-sharp edge that really cuts you deep. Each and every time Frank jabs his knife into one of his victims, you’ll desperately want to close your eyes. The violence is shockingly realistic, and it is shown in all of its revolting glory. It’s so graphic that even Frank looses his lunch after murdering one poor girl. It’s certainly not for the faint of heart.
Since the story is presented from Frank’s point of view, you may wonder why a high-profile star like Elijah Wood is involved with this small project. The few glimpses that we get of Frank are in reflections, where we are exposed to the glazed-over trance that he seems to float around in from day to day. His reflection presents a boyish face, drawn in innocence that suggests that he wouldn’t hurt a fly. Obviously, we know better, but armed with those puppy eyes, we know Frank is capable of fooling a lot of people into thinking he is completely harmless. Wood uses his physical appearance to his advantage, but his performance is wounded by his line delivery, which seems very mechanical and staged. The problem could stem from the dialogue, which is embarrassingly clunky and refuses to roll off the tongue in a natural fashion. As far as the other performers go, Arnezeder’s Anna is the ray of hope that Frank is desperately in need of. When she reveals she has a boyfriend, we certainly feel the dagger driven right into Frank’s heart, but we fear for her when he finally falls off into the abyss. Olivio certainly makes you raise an eyebrow as Frank’s prostitute mother, who forces him to hide in the closet while she has a threesome. Rotibi is spot on as the testy Jason, Anna’s boyfriend who takes an immediate disliking to Frank and viscously accuses him of being gay.
In addition to the impressive POV style and unnervingly realistic violence, Maniac 2013 also benefits from an awesome retro soundtrack that is sure to get stuck on repeat inside your head. Composed by French musician Rob, the soundtrack invokes an early ‘80s aura, sounding like a mash up between the dreamy notes of Ruggero Deodato’s Cannibal Holocaust, the triumphant synthesizer blasts of Stanley Kubrick’s A Clockwork Orange, and the urban beats of Nicholas Winding Refn’s throwback thriller Drive. With the soundtrack transporting you back to 1980, Khalfoun uses it to intensify the film’s urban grit. You almost feel like you’re on the grimy midnight streets with the homeless hiding inside camping tents, club kids drunkenly stumbling out of dance clubs in search of a blackout hook-up, and wandering hoods with their faces suspiciously concealed. All of this is sure to scare you away from wandering darkened city streets ever again. Overall, while the film’s dialogue could have used some major attention, Maniac is still an unexpectedly chilling walk in a madman’s shoes. It’s respectful of the original film while also setting itself apart from what Lustig delivered back in 1980. Maniac is stylish, chilling, and wildly grisly horror remake that is sure to disturb even the most hardened horror fan.
Maniac is available on Blu-ray and DVD.
by Steve Habrat
At the height of the Italian zombie and jungle cannibal craze, exploitation director Antonio Margheriti (yes, you heard his name in Quentin Tarantino’s Inglourious Basterds) came up with the idea to mix the two splatter subgenres together, add a dash of Apocalypse Now and The Warriors, and replace real jungles for concrete ones. The result of this strange brew is Cannibal Apocalypse, a hit-or-miss grindhouse zombie extravaganza that features some impressive gore for a low budget Italian exploitation effort, some mildly entertaining action sequences, gratuitous nudity, and, yes, even a bit of senseless pedophilia. Cannibal Apocalypse could also have been a fairly solid exploration of the traumas of war and early on it seems like it is threatening to get a bit psychological, but after the first twenty minutes or so, the film abandons any sign of something substantial. In its place is the same old clichés that we’ve seen before set to the same synthesizer scores that played over countless other Italian zombie and jungle cannibal movies before it. The only difference is there is a hilarious saxophone playing over those pulsing synths. Make no mistake; this is an exercise in sleazy short-term thrills that goes great with a few Pabst Blue Ribbons. There is no long-term meditation and reflection over a glass of Chardonnay.
Cannibal Apocalypse begins with a rip-roaring flashback to the Vietnam War, with Norman Hooper (played by John Saxon) and a group of commandos storming an enemy bunker where two other commandos, Charlie Bukowski (played by Giovanni Lombardo Radice) and Tom Thompson (played by Tony King), are being held prisoner. Much to Noman’s horror, his two buddies have developed an insatiable hunger for human flesh and are in the process of devouring the charred body of a Vietnamese woman. While trying to help his friends, Tom suddenly lunges at Norman’s arm and he tears a big chunk right out of it. Several years later, Norman appears to be living a normal, happy life in an Atlanta suburb with his wife, Jane (played by Elizabeth Turner). Despite the happy face he puts on, Norman is still haunted by the horrors that he witnessed during the war and he even finds himself being seduced by the teenage girl next door. To make things worse, he finds himself craving human flesh. One day, Norman gets a call from Charlie, who has been recovering in a local mental hospital, about grabbing a drink and catching up. At first Norman turns down Charlie’s offer to get together, but after Charlie goes berserk in a local movie theater and rips open a girls throat, Norman is forced to reconnect with his friend and convince him to give himself over to the authorities. While in custody, Charlie meets up Tom, who is also still craving human flesh. As Charlie and Tommy bite more and more people, the cannibalistic cravings begin to spread and madness begins spilling into the streets.
The opening twenty minutes of Cannibal Apocalypse are fairly impressive and well spoken, as the camera is trained on the seriously disturbed Norman and the traumas that haunt him. He suffers from terrible nightmares and he squirms every single time he sees a piece of raw meat sitting in his refrigerator. Things really boil over when the young neighbor girl seduces Norman and he proceeds to take a chunk out of her hip. It is creepy in more ways than one and frankly unnecessary. From here on out, the filmmakers are more interested in showing bare breasts and giving the audience extreme close-ups of teeth tearing into chunks of meat rather than exploring the mental slip that these characters are experiencing. The gore just continues to escalate and you should know that the effects are pretty jaw dropping for a cheap Italian cannibal flick. One scene finds a doctor having his tongue ripped out by an infected nurse after he mistakes her attacks for seduction. Just to make things even more disgusting, the nurse then spits the very realistic tongue onto the floor and proceeds to bash the doctor’s head open. In another standout moment, our group of cannibals huddle around one victim’s leg and then saw it open with an electric saw, all while the camera zooms in on the mutilated meat. Yet the king daddy of gore shots comes when one character has a hole blown through their stomach with a shotgun. Just to make sure we understand that there was a hole blown through the character’s stomach, Margheriti cuts to it multiple times and even shows an extreme close up of it.
While the artier spurts may be the true stars, Cannibal Apocalypse contains some surprisingly passable performances from the actors. Saxon is convincing enough as the mentally unstable Norman. It rumored that Saxon really hated making the movie and that he has refused to see it. You’d never guess he was miserable though, as Margheriti never catches him sleepwalking through a scene. Then we have Radice, who you may remember from Lucio Fulci’s City of the Living Dead. For those who don’t remember him, he is the guy who gets the drill right to the temple. Radice is in full crazy throughout much of Cannibal Apocalypse and he seems to be relishing every second he is in the film. If you think Radice is gonzo, wait until you get a load of King’s gnashing and thrashing Tom, who chomps, rants, and raves all while blood drips from his gums. He is so outrageous that he surpasses bad and just dives right into hilarity. Turner meanwhile is forgettable as Norman’s suspicious wife, who doesn’t even seem moved when he tells her he was fooling around with the girl next door. May Heatherly is also on board as Helen, a poor nurse who gets bitten and turns into a robotic cannibal with a craving for human tongues. She joins the pack of flash eaters near the end of the film as they dash around in the sewers, but she is mostly there to get gunned down by gas masked police officers.
Heavily inspired by Fulci’s Zombie and George A. Romero’s Dawn of the Dead, Cannibal Apocalypse never reaches the extreme highs of either film it is attempting to emulate and it certainly never taps into the satire that Romero did in 1978. Margheriti does manage to deliver a few action sequences that will hold your attention, especially the climactic chase through the hazy and rat infested Atlanta sewers. There is also an unintentionally hilarious brawl with a group of bikers in a seedy alleyway that looks like something ripped right out of The Warriors. The unintentional laughs will continue when you hear the wildly inappropriate disco score that accompanies most of the carnage. Overall, Cannibal Apocalypse is far from scary and it squanders every single opportunity to explore the impact that war has on our troops, but as far as inexpensive exploitation films go, it does have some stomach churning violence. This is only for those people who have worn out their copies of Zombie and Dawn of the Dead and are craving a lesser-known cannibal flick.
Cannibal Apocalypse is available on DVD.
by Steve Habrat
Way back in 2003, most casual horror fans believed that Danny Boyle had created the running zombie with his 2003 horror gem 28 Days Later. His sprinting ghouls then inspired Zack Snyder, who sped up his undead in the 2004 remake of Dawn of the Dead. While these two films made the running zombie popular, it could be argued that zombie godfather George A. Romero did it first in 1968 with Night of the Living Dead. Yes, you read that correctly. If you think back to the opening sequence of the film, the cemetery zombie that terrorizes poor Johnny and Barbara isn’t afraid to hustle for his meal. While the rest of the ghouls shuffled their way to the farmhouse, that iconic zombie moved at a very fast walk. About thirteen years later, the fast moving zombie appeared once again in the Italian made Nightmare City, another one of the European knock-offs of Romero’s 1978 masterpiece Dawn of the Dead. Much like Boyle’s 28 Days Later, Nightmare City doesn’t actually contain cannibalistic undead. No, these maniacal terrors are suffering from radiation poisoning and they are not simply craving a hearty meal of entrails. They crave blood and they are not afraid of using guns, knives, and clubs to get it. Hell, they even drive a car and fly a plane!
Set in an unnamed European city, a television reporter named Dean Miller (Played by Hugo Stiglitz) arrives at an airport to await the arrival of a scientist he is supposed to interview. While he waits, a mysterious military plane makes an emergency landing and unleashes a slew of radioactive zombies that proceed to shoot and stab the police and military officers waiting outside. Dean manages to escape the slaughter and he makes his way to the local television station to warn anyone who will listen to him. Just as Dean is about to make an announcement, the military steps in and prevents him from spilling too many details about the incident. It doesn’t take long for the ghouls to make their way into the city and begin killing anyone in their path. As the city is overrun, Dean attempts to rescue his wife, Dr. Anna Miller (Played by Laura Trotter), who works at the local hospital. Meanwhile, military officials General Murchison (Played by Mel Ferrer) and Major Warren Holmes (Played by Francisco Rabal) scramble to contain the situation and understand what type of threat they are up against.
While there isn’t much of a plot to Nightmare City, director Umberto Lenzi, the man who gave the world the Cannibal Holocaust knock-off Cannibal Ferox, keeps the action and bloodletting rolling at a furious rate. There is maybe five minutes of downtime before that dreaded military plane makes its emergency landing and unleashes those crusty-faced infected. The make-up on these ghouls is less than impressive, as their faces just look horribly scabbed over. There is nothing particularly memorable about any of them and they never wear the grotesque detail that many of the other ghouls of Italian zombie movies wore. Hilariously, all of the ghouls in Nightmare City are male and when they attack their female victims, they feel the need to rip off the women’s shirts for a quick boob flash before they start hacking and slashing. As far as the gore is concerned, the film never matches the jaw-dropping intensity of one of Lucio Fulci’s zombie films. Just because the film never matches the gore of a Fulci film doesn’t mean that Nightmare City is a softie. No, brace yourself for eyeballs being gouged out, blood slurped out of necks, heads getting blown to bits, an arm being yanked off, and even a women’s breast getting sawed clean off.
Probably the poorest part of Nightmare City is the stiff performances from nearly everyone involved. Mexican actor Hugo Stiglitz tries has hardest to make something of a role that simply asks him to run from one location to the next. His Dean is asked to be a tough guy, but sometimes he looks a bit bored firing a machine gun at a handful of charging ghouls. Despite his faint disinterest, he still manages to give the best performance in Nightmare City. Trotter barely registers as Dean’s terrified wife, basically just throwing herself on the ground and acting helpless. Ferrer does passable job as the no-nonsense General Murchison, but even he just stands around in an underground military bunker and forces himself to look important. Rabal’s Major Holmes is another bore who tries to inject a bit of emotion into his role. The only scene he really seems invested in is a steamy make-out session between him and his artist wife, Shelia (Played by Maria Rosaria Omaggio). Much like Trotter’s helpless Anna, Omaggio’s Shelia is asked to flash her chest and cautiously wander around her massive home.
Despite everything working against Nightmare City, it still manages to be a surprisingly fun European zombie movie. In addition to the poor effects, lousy acting, frail plot, and silly exposition, the film also features the biggest rip-off of an ending you will ever see. Yet you will be willing to forgive all the flaws because Lenzi really goes out of his way to deliver the thrills and he even manages to craft a few moments that are fairly suspenseful. The most stunning is an aerial shot of swarming infected charging through the city. To break up the mild suspense, you’ll get a few solid laughs, especially when Stiglitz lobs a television at charging infected and it blows up like a grenade. In the years since its release, Lenzi has tried to argue that the film actually is making an anti-nuclear message and that it is extremely critical of the military, but it is glaringly obvious that the film is just a low budget exploitation cheapie. Overall, Nightmare City is certainly no Night of the Living Dead, Dawn of the Dead, Zombie, City of the Living Dead, or The Beyond, but as far as action packed escapism goes, you can do much, much worse. No one will blame you if you seek this sucker out for a midnight viewing.
Nightmare City is available on DVD.
by Steve Habrat
In 2007, Quentin Tarantino and Robert Rodriguez introduced mainstream audiences to exploitation cinema or “grindhouse” cinema with their sleazy double-feature experiment Grindhouse. Their experiment failed to resonate with audiences, at least at first, but in the wake of Grindhouse, there was a growing interest in exploitation cinema from the mid 1960s until the mid 80s. Glorifying sex, violence, and depravity, “grindhouse” movies were “ground out” in dingy old movie palaces or rickety drive-in theaters while a wide range of colorful audience members smoked dope, pleasured themselves, mugged other audience members, heckled the screen, and relieved themselves in soda cups to avoid a trip to the creepy bathrooms. Ranging from spaghetti westerns to European zombie movies to cannibal films to blaxploitation flicks to all out pornography, exploitation had many forms and a good majority of them were absolutely awful. However, there were more than a few stand outs that managed to hold up over the years and earn respectable cult followings. So, without further ado, here are Anti-Film School’s ten best grindhouse films of all time. Take comfort in the fact that you can watch them in your own home, far away from the junkies of 42nd Street!
WARNING: EXTREMELY GRAPHIC IMAGES
10.) I Spit on Your Grave (1978)
Israeli director Meir Zarchi’s stunningly graphic rape/revenge flick has become one of the most infamous grindhouse films ever made. The film notoriously enraged critics upon its release and even caused Roger Ebert to write one of the most scathing film reviews of his career. I Spit on Your Grave is trashy, sleazy, mean, brutal, and harrowing, with plenty of sex and violence to fuel a dozen exploitation pictures. So what makes it so awesome? Folks, when this poor woman unleashes her fury, it will have you simultaneously cheering her on while covering your eyes and reaching for the barf bag. I Spit on Your Grave was remade in 2010, but the polished presentation and evidence of a studio budget failed to pack the punch of the gritty original.
9.) The Texas Chain Saw Massacre (1974)
Tobe Hooper’s The Texas Chain Saw Massacre is one seriously scary movie. Believe me, folks. It may also make you want to take a shower, become a vegetarian, and never go anywhere near the Texas border. Wielding a nerve-frying sense of realism, this grim and grimy tale about a group of young friends who come face to face with a family of murderous cannibals led by Leatherface was inspired by the heinous crimes of real life serial killer Ed Gein and famously spooked the horror-hating critic Rex Reed. Surprisingly, Hooper adds little gore to the mayhem and instead relies on the thick Texas heat, dilapidated brans, abandoned meat packing factories, and rusty family-owned gas stations to keep us on our toes. Wait for the final fifteen minuets, with a gut-churning family dinner, star Marilyn Burns screaming herself horse, and Leatherface doing a dance of death in the middle of a highway.
8.) Faster, Pussycat! Kill! Kill! (1965)
Sexploitation king Russ Meyer’s snarling Faster, Pussycat! Kill! Kill! is one of the funkiest films you are ever likely to see. It has just about everything an exploitation fan could want: ass-kicking go-go dancers, drag races, fist fights, big breasts, sadistic backwoods males, and switchblades. It is like a living, berating cartoon that wouldn’t hesitate to rip your throat out. It is precisely this pulpy, comic book touch that makes Faster, Pussycat! Kill! Kill! such an essential grindhouse thrill ride. The action is breakneck, the fights are bone-snapping, the races are smoking, and the go-go dances will have the male viewers hot under the collar. The middle section of the film begins to sag, that I will admit, but the curvy Varla and her no-nonsense attitude keeps the entertainment level as high as it will go.
7.) El Topo (1970)
The film that started the midnight movie craze, Alejandro Jodorowsky’s El Topo is a work that you can’t even begin to fully understand or truly put in words. It’s a spaghetti western that really isn’t a western at all. At times spiritual, at times existential, at times beautiful, but almost always brutal beyond belief, El Topo follows a lone gunslinger named El Topo (played by Jodorowsky) on his quest to confront a handful of cunning warriors lurking out in the desert. At the time of its release, John Lennon and Yoko Ono were very vocal about their love for El Topo, and over the years, it has caught the attention of David Lynch, Peter Fonda, Dennis Hopper, Marilyn Manson, and Bob Dylan. There is no doubt that El Topo will shock, swoon, and appall all who see it, sending the viewers away to discuss and debate the surreal string of images that Jodorowsky springs on them. You truly won’t believe your eyes.
6.) The Streetfighter (1974)
You can’t have a list of the best grindhouse films of all time without including this wickedly savage Sonny Chiba classic. The Streetfighter is a mess in the plot department, but you’re not here to for a mind bending story. No, you’re here to watch Sonny Chiba, who seriously makes the best facial expression ever while throwing down with a sea of bad guys, rip some guys balls off, rip another dude’s vocal cords out, and sock a guy in the gut so hard that he barfs (trust me, there is a hell of a lot more). It’s great and it is even better if you watch it with a group of friends that howl every time someone memorably bites the dust. The Streetfighter ended up being the first film ever to receive an “X” rating for violence and even by today’s standards, it would make most splatter directors blush. It stands proudly as one of the greatest kung-fu films ever made.
5.) Halloween (1978)
Believe it or not, John Carpenter’s icy tale of the Boogeyman in suburbia was indeed a grindhouse movie. Made by an independent studio and on a shoestring budget of $325,000, this terrifying slasher pic is widely considered to be the most successful independent feature of all time. Halloween is the ultimate example of less-is-more and it inspired a slew of holiday-themed slashers that emerged in the wake of its popularity. There is so much to love here, from the spine-tingling score to the seemingly supernatural Michael Meyers, and plenty to give the viewer nightmares for a week. Halloween was followed by a number of sequels, two of which are worth checking out, and a gritty, ultra-gory remake in 2007 by shock rocker-turned-director Rob Zombie. There have been countless imitators, but the original Halloween remains the scariest slasher film ever made.
4.) Ilsa, She Wolf of the SS (1975)
One of the more extreme and sexually graphic films on this list, Ilsa, She Wolf of the SS, was one of the original women-in-prison grindhouse films. Directed by Don Edmonds and shot on the leftover sets of Hogan’s Heroes, Ilsa, She Wolf of the SS has earned its reputation through its borderline pornographic sex scenes, prolonged sequences of torture, its surprisingly serious approach to the silly material, the grim ending, and Dyanne Thorne as the sadistic Ilsa. Seriously, wait until you get a load of Thorne’s Ilsa. If taken for what it is, Ilsa, She Wolf of the SS is pretty entertaining even if you’re constantly closing your eyes or watching with your jaw on the floor. In October, I actually had the pleasure of meeting Dyanne Thorne and she was a gigantic sweetheart even if she was dressed in her Nazi uniform. For those looking to cut their teeth on the savage stuff, make sure you get ahold of the blood-splattered Ilsa, She Wolf of the SS. It is the real deal.
3.) Thriller: A Cruel Picture (1974)
Would you believe that director Bo Arne Vibenius, the man behind Thriller: A Cruel Picture, once worked with Swedish art house director Ingmar Bergman? If you’ve seen Thriller: A Cruel Picture, you probably can’t. The ultimate rape/revenge film, Thriller would chew I Spit on Your Grave up and then spit it out, place a double barrel shotgun to its head, and then blow its brains clean out. The tagline warned viewers that Thriller was “the movie that has no limits of evil” and it really meant it. Following the beautiful young Frigga (played by bombshell Christina Lindberg), who is abducted and forced into a life of drug addiction and prostitution before she snaps and goes on a killing spree, Thriller: A Cruel Picture is about as rough and tough as a motion picture can be. Vibenius unleashes graphic sequences of sexual intercourse (complimented by a shrill static sound effect to make the viewer cringe) and slow-motion shots of Frigga’s tormentors tumbling through the air while gore spills from the bullet wounds. He also gouges the eye ball out of a real corpse. So, do you think you have the stones to go up against Thriller: A Cruel Picture?
2.) Cannibal Holocaust (1980)
Ruggero Deodato’s “found footage” gross-out Cannibal Holocaust was so realistic, that when the film premiered in Milan, Deodato was arrested and charged with obscenity. Certainly not for everyone, Cannibal Holocaust has become the most controversial movie ever made and it lives up to its reputation. Featuring strings of unblinking violence with barely a cut to be found, real footage of animals being killed (this aspect of the film particularly disturbed me), and the most repulsive sex/rape scenes every filmed, Cannibal Holocaust is the film that goes all the way and doesn’t even consider looking back. Believe it or not, Cannibal Holocaust is a shocking reflection of the violence lurking in even the most “civilized” human beings, something you’d never expect from a film that seems content to wallow in depravity. The film sparked a number of copy cat cannibal films that emerged out of Italy throughout the 80s, but none could match what Deodato created. Deodato has since stated his regret in making the film, but Cannibal Holocaust has earned a fairly respectable cult following. It is certainly not for the faint of heart.
1.) Zombie (1979)
Legendary Italian horror director Lucio Fulci has been widely considered to be the “Godfather of Gore” and he certainly lives up to that reputation with Zombie. Released in 1979 and marketed as the sequel to George A. Romero’s zombie epic Dawn of the Dead (the films have no connection), Zombie is about as fun and icky as a zombie film can get. It is gratuitous with its blood and guts as well with its nudity (breasts are flashed for seemingly no reason at all). Zombie certainly lacks the sophistication of a Romero zombie film and absolutely no one expects it to make a profound statement about society, but it does get the zombie action right. Rotten corpses claw out of the grave, freshly infected shuffle through rickety tropical ghost towns looking for victims, a zombie battles a shark (yes, you read that correctly) and ghouls rally together at the climax to infiltrate a bordered up makeshift hospital. And boy, does it feature some nasty looking zombies. A midnight movie of the highest order, Zombie is balls to the wall insanity. Fun Fact: Zombie‘s trailer promised queasy viewers a barf bag with their ticket!