Basically, some rich boy (who looks WAY older then his girlfriend) is trying to get his girl drunk and score with her for the first time. A motorcycle gang with an affinity for Nazi paraphernalia bumps into them and proceeds to score with her instead, beating our protagonist and taking his girlfriend’s virginity. The rich boy, of course, doesn’t take kindly to this. He then, with his trusty Karate knowing friends (and who doesn’t have a few dozen of them?), proceeds to get revenge on the bikers at a funeral. You then get some of the laziest Karate you’ve ever seen. They also give one of the main bikers a quick John Bobbitt. Needless to say, the gang takes unkindly to this and goes after the rich boy and the Karate class, and somehow, they find where the rich boy lives. It then escalates from there, even more, to a decent trick ending that appealed to the nihilist in me, even if it comes off a little stupid. I wish I could tell you some of the characters names, but they seem almost meaningless in this film. I doubt I could place any of the actors in anything but this paticular title.

The sheer amount of violence in this film is pretty staggering. The blood starts right from the beginning and never lets up. There’s cheesy Kung Fu beat downs, machine guns, death by shears, and a lobbed off penis, as mentioned. It also has tons of gratuitous nudity, including a pretty bizarre bondage scene, which of course always helps in a film of this genre.

There are some pretty disturbing images in this film, and it’s definitely a little vile, if stupid, in parts. The dubbing on the copy I saw was pretty abominable, which of course added to the charm. Going by the expressions on some of the actors faces, I’m pretty sure there’s quite a bit of over-acting going on, bad dubbing or not.

There are a few different versions floating around, some with hardcore inserts, so viewer beware. Picture John Waters doing a biker-revenge film and you sort of have an idea of what this film is like. It’s almost delirious in parts, as it seems to veer from one incredible scene of violence and nudity to the next. If you’re into Biker films or exploitation films in general, I highly recommend this one.

I usually recommend this film when people ask for a good introduction to Grindhouse or exploitation films. It’s not great, it’s pretty technically inept, and it’s really kind of ludicrous.  Still, this film delivers the goods, albeit a little sneakily. The film doesn’t quite live up to the title, which is one of exploitation films finest, but it’s still worth tracking down and watching.

Ron Slinker IS Mr. No Legs, a mob enforcer with no legs. Not just in a wheelchair, but an amputee with no legs.   Maybe he was born that way,  honestly, the film doesn’t let you know either way and there isn’t too much written history assosiated with the film either.  I’m not a huge wrestling fan, but apparently Ron Slinker was also a big-time wrestler, of some sorts. Apparently, he was also a raging alcoholic. I hope this film bought him a few crates of Wild Irish Rose. This flick was also directed by Ricou Browning, better known to the world as the Creature from the Black Lagoon. He was the man squeezed into the infamous monster suit. He also was a big stunt guy for anything aquatic apparently, and did work on Flipper and other nautical shows. But he only solely directed one film, and this is it. And who would have thought it would be so entertaining, and so sleazy? The film, per the IMDB page, was released in 1981, but don’t you believe it. The styles, camera and film style all scream Seventies. If this was made in 1981, they were clearly using clothes from 1977.

Mr. No Legs is a mob enforcer in the film. He gets fed up with his immediate boss’s insults and pay, and decides to double cross the mob when he’s had enough. The insults about his condition enrage him to the point that he decides to wage war on the mob. Personally, I think the guy had it made: wimming pool, good looking seventies floozy, but I guess enough was enough. Armed with his pretty awesome wheelchair of death (it has throwing stars on the wheels, drop down shotgun boxes on the side) and his martial arts (which he’s stunningly good at – this guy is in phenomenal shape) he begins to muscle in on the mob action. Two detectives (who, sadly, the camera follows as much as Mr. No Legs) try to stop the bloody mayhem that ensues as Mr. No Legsmurders everyone in his way, including a hooker who may be a police rat. The said murder occurs in one of the crappiest, sleaziest bars I’ve ever seen, and looks genuinely authentic. The hookers in the film all look legit as well. This is clearly a film shot on the cheap, and it pays off. Sometimes a lower budget can help a film, and it really works here. The only issue with the film would be some of the overly long dialog (which is a true sign of exploitation films, in general) and the fact that Mr. No Legs isn’t in it as much as you’d want.

I’m not going to bore you with all the plot details, or the plot ‘twists’, as they are almost irrelevant. What matters is a muscular dealer of death with no legs and his wheelchair of mayhem. Set in the Seventies, with all the great seventies fashions to boot. He gets the chicks, he kicks serious ass with his wheelchair-fu, and does it all in a film that is completely worth seeking out. I’m not saying its perfect: no film in this genre will ever be, but come on, doesn’t the premise alone sound pretty intriguing? I’d recommends seeking it out, if possible.

David Friedman, one of the high kings of exploitation films, noted that exploitation films by nature were always better in the trailer then in the actual film. The taglines and trailers are used to entice you into see these films. And most times, a film won’t live up to all the hype. Believe me, there are some films where I don’t need to remind myself that “it’s only a movie.” It’s pretty obvious it’s a movie and one so bad that I wonder if they even had a script before they started the cameras. So any film whose tagline is “The lucky ones simply got their brains blown out” would seem to have a lot to live up to. Fortunately, Greek director Nico Masterakis did his best to live up to the film’s trailer and tagline. As a matter of fact, he probably exceeds it. I’ve seen the trailer for the film, and it hardly equals the sheer nastiness in the movie itself.

The film follows a young couple who vacation on a small Greek island. Where this film immediately gets it right is by having the couple, who you figure are going to be stalked, murdered, eaten or any other horror standard you can picture be the villains. After a disturbing sex scene in the middle of which the young man phones his mother to listen in (and taunt her), they proceed to kill the locals who they feel are sinners. Most of the people who they murder are killed in very gory ways, and Director Masterakis keeps the body count moving. There’s a sort of sub-plot of a Police Offer after the couple, but it gets resolved readily enough by our twisted Bonnie and Clyde. Every person the couple encounters on the Island seems to have some sort of sexual hang up or quirk, which the (admittedly attractive couple) use to their advantage. There is a pretty good twist ending as well, and the hypocrisy of the couple is exposed pretty shockingly.

This is a vile, vile film. In interviews I’ve read with the director, he admitted that he deliberately set out to make a real shocking and boundary pushing film. I think he pretty much succeeded. The film contains implied bestiality (and the murder of said animal, a Goat): a ‘golden shower’ scene, multiple murders by multiple means, including gun, knife and hanging: and a crucifixion that ends with the couple drowning the victim in paint. Needles to say, this was one of the infamous British nasties that were banned across the pond. There are a ton of cut versions out there, but of course you want the full uncut version. I mean, why else would you want to watch such a nasty, grimy film? In the best Grindhouse tradition, this is the type of film that you would slink out of the theater, or should come in a brown paper bag when go to order it on video.

In other words, you should either go buy or rent this film immediately. This is one of those Grindhouse films, like Thriller: a cruel picture and The Amazing Mr. No Legs that’s essential watching. Plus it’s a lot more perverse then the average cookie cutter horror film.

The film is basically centered in a carnival. The ghoulies take over the haunted house, and basically cause nothing but mayhem and murder. If you’re wondering what the hell a Ghoulie is, it’s just basically an uglier Gremlin rip-ff. This is a sequel to the quickly rushed out first film, which of course was trying to capitalize on the huge success of Gremlins, and did make a decent return. More then decent, as it earned enough to warrant a sequel.

As they begin to tear apart some idiots (and Band makes sure they aren’t too sympathetic of characters) some other Carnival viewers happen to see them at work. Oddly enough, more crowds begin to go into the haunted house, as when the Ghoulies are discovered the happy carnival goers think they are part of the ambience. Only a few patrons and some of the ride attendants figure out something may be amiss, and that the torture show in the haunted house may be real.

That’s basically the plot: but how’s the film itself?

Actually, it’s not that bad. Sure it’s limited as far as budget and sets go, but it’s not bad in a guilty pleasure, ‘USA up all night’ sense. Albert Band manages a rare feat however:

This film is better then it’s predecessor.
Not sure if this was intentional, as “Full Moon”’ studios, much like Corman, was always about the bottom line. But the original was not too good, and what Band wisely does is center the film much more on the Ghoulies themselves, and throws in much more sex and violence. Well, mainly violence. The title and box of the original Ghoulies on VHS made it a hit, but it’s an abominable film, with hardly any of the title creatures in it. This film goes the full blown Gremlins 2 route, with having the creatures pretty much going non stop. There are a few stop motion sequences, the acting isn’t hideously bad, and Band wisely went the “Evil Dead 2” route and threw a lot of humor in it. Much like Joe Dante in “Gremlin’s 2”, the emphasis is squarely on the little creatures, and the mayhem they cause. It’s definitely not in the class of “Gremlin’s 2”, but it’s a pretty good way to waste a couple of hours.

The plot is very simple: A young man who goes to New York City carries a wicker basket with him everywhere. This basket contains his deformed Siamese twin brother, who wants vengeance on the Doctors who separated them. When the ‘normal’ young man meets a girl who he falls for, and she begins to intrude on his relationship with her brother, tragedy ensues.

What sets this film apart is the great gore and violence, to say nothing of a pretty funny (if dark) sense of humor that pervades the film. Henenlotter knew enough to throw a great amount of blood up on the screen, but it never feels gratuitous: it’s not gore for the sake of gore, but to punish the doctor’s who ripped them apart. The deformed twin is made to by sympathetic, despite his killing spree. There is one particularly famous scene (Joe Bob Briggs wrote about it enough, and I’m not going into details and spoil it for you guys) that can upset casual horror viewers, and even have true horror buffs(like, oh I don’t know, people who read this web site) drop their jaws in disbelief.

The acting is either pretty amateur or just flat out terrible, but mention must be made of Kevin Van Hentenryck, who comes off really well. More then anything, he seems very authentic as a ‘new kid’ in New York City, and he seems very natural. Unfortunately, per IMDB, he never really went on to anything else other then the sequels to this film.

The true hero of this film is director Henenlotter though. He pretty much perfectly captures the New York City of 1982, including scummy characters (the Superintendent and the hooker are almost dead on) and every location shot looks like they went out on the streets of NYC and just shot as they went. And considering this is a low budget film, they probably did shoot everything local and without permits. Henenlotter did a few films after this one, including the pretty good ‘Brain Damage’ which features a cameo of Kevin Van Hentenryck with a basket on his lap during a subway scene, and the under rated ‘Frankenhooker’ which is a lot better then the title implies. Still, you would have thought that a director who shot out the gate with such a good film would have been able to get some more work.

To me, this film along with Sam Raimi’s Evil Dead 2 was the start of the great gore-comedy genre. While there has been comedy and horror intertwined since Abbot and Costello, real gore horror which is funny but also scary is real rare. This is that rare blend where a film can be horrific and funny.

The Shock ‘Em  storyline has been told lots of times before. Take your basic loser nerd, who is stuck at a dead end job (this time a pizza place: nothing says desperation and no future like working at a fast food establishment. Probably the influence of that awful Poison video.) After he tries out for a band, and gets flat out humiliated and mocked due to the sheer ineptness of his playing, he decides to sell his soul to the Devil for the ability to play guitar. So far, we’re stealing some of Faust, and adding parts of “Crossroads” with Ralph Machio. Instead of being screwed over with a portrait he has to stare at once a night, he can only subsist on a human heart. And blood. Plus he has to stab people with this bizarre looking knife.

On the plus side, he gets his own cool house, which looks exactly like you’d picture a member of, say, Warrant’s house to look like circa 1989: also, he gets three hot babes in lingerie to play with, and the ability to play guitar like Yngwie Malmsteen. Or Steve Vai. Or the douche from White Lion. Or any hair band ‘shredder’ from that era. If you’re a fan, more power to you, but personally, speaking as someone who was alive in that era, and who remembers it really well, that music blew. In an era where the Ramones and the Replacements couldn’t buy a spot on the Billboard top 50, you had to stomach bands like The Bullet Boys, Britney Fox, Cinderella and others. But damn if it’s not funny looking back twenty years later. And this film perfectly encapsulates the hair metal look and music almost dead on.

Anyway, once the geek gets his gifts for his soul, he has to go and try out again for that band that turned him to the Devil. He not only makes it into the band, but he takes the band over and manages to drive out the singer, who had really been the one guy in the band who went out of his way to humiliate our nerd protagonist. Besides the previously mentioned trio of Metal groupies, our protagonist also decides to pick up Tracy Lords, who manages the band, and is dating the Bass player. I guess there is no conflict of interest. And no, she does not get naked. You would think so, but apparently this was when she was trying to earn respect as an actress. On the plus side, she is wearing eighties style Hair-Metal clothing ala Kelly Bundy, so there is still some appeal there. Needless to say, our anti-hero also wants to add her to his collection, all while looking for extra ‘food sources’ for him and his harem. And all this while getting a record contract. Of course, the bass player starts picking up some strange vibes, to say nothing of the fact the new member of the band appears to be trying to steal his girlfriend. So it’s up to our 4 string warrior to defeat the satanic guitarist, and hopefully gain his woman back.

So is this film any good? Not really. It’s pretty easy to figure out the plot arc, it’s formulaic, it doesn’t have great acting: basically it’s a whole lot of clichés jammed in one film. But it’s still a great look back at the late eighties, and it’s not so painful that you want to immediately shut the film off. And if you want to see why those of us who remember those days were nearly fervent over Nirvana, which relegated those hair bands to obscurity almost over night, this film should give you a real good idea what we were clamoring against.

Which brings us to the original “Toolbox Murders”, which is one the dingiest, grimiest films from the late 70s era. This is a film that was actually re-made (by Tobe Hooper), but the remake is literally in name only. Hooper’s film bears nothing in common other then the name. What Hooper’s film doesn’t have is the very low budget, skuzzy grime that the original has. It may not be directed, acted, or even framed and shot as well, but the elements in it make it much more effective. It just has this real sort of griminess and seediness. It reminds me of New York City before the Disneyfication by Giuliani.

The Toolbox Murders is basically what you would think it’s about: a deranged killer/handyman with a toolbox is going around murdering the tenants of an apartment building. You’re not sure who it could be at first (of course) but it doesn’t take too long to figure it out. What makes this film stand out from what sounds like an average plot is the amount of nudity, violence and flat out misogyny that is in this film. One great highlight is the murder by nail gun to a woman who is enjoying her own company, to put it mildly. Said woman is Kelly Nichols, a porn actress working under a non de plume from the ‘chic’ porno era.

There are a few slow, dialog laden parts, with some great over and under acting. Most of the overacting comes from Cameron Mitchell, long a staple of bad films and television (and looking like he just had plastic surgery). The only non-porno notable face is Wesley Eure from Land of the Lost, who plays Mitchell’s deranged nephew. I don’t want to give a ton away about this film, as this REALLY comes recommended for fans of Grindhouse and sleaze, but there is a great twist to the film, and a really creepy angle about purity. See, the main reason all this is occurring is that the murderer, whoever he is, is punishing these women for their wanton, lurid ways. They are not ‘pure’, unlike one young girl who he kidnaps…

This is just a twisted film. Allegedly based on a real event (but surely exaggerated for commercial purposes) the film moves at a decent, brisk pace. There are, to be sure, a few ‘dead’ spots, but in general the Director knows when to keep things moving. The acting, while varied, isn’t so bad that you want can’t watch; and best of all, it’s filmed like every scene is somebody’s last known photograph. The locations all look washed out, and the people themselves appear washed out. It really adds to the film. It picks up a very odd, almost surreal vibe like the original Chainsaw Massacre, or Last House on Dead End Street.

Put it this way: you’ll never look at a handyman or tool chest the same way again.

The film follows the basic slasher premise: two couples and one “extra” girl go to a vacation spot to have some fun, show some skin, have sex and do some partying. They also bump into a strange ‘museum’ where good old boy Chuck Connors is the curator. The museum contains a lot of very creepy mannequins, and also contains a warning issued from Chuck: to avoid Chuck’s brother Davey, who is apparently a little disturbed. But then again, what horror film doesn’t contain people who would poke around anyway?

The curio factor, and what really makes this film go, is the mannequins and the odd logic that Davey has telekinetic powers (yes, you read that right). Deadly objects fly through the air with the greatest of ease, and with the deadliest of intent. Even worse, the mannequins seem to leer and lurch forward randomly as well. Needless to say, the average, sinful sex crazed, alcohol abusing tourist doesn’t have a chance. But there is a fifth female, who doesn’t fill the stereo-type of being sex crazed and on drugs…

Chuck Connors is in full crazed loner role for this film, and also gives a pretty good performance. The eye candy is pretty good as well, with a young, ripe Tanya Roberts, some other girl who I couldn’t place, and Jocelyn Jones from the Great Texas Dynamite Chase playing the good girl oddly enough. She still looks pretty damn good, but it’s odd seeing one of the Dynamite girls not wearing denim cut offs. And not robbing banks with a dynamite stick. The guys are typical 70s filler, neither of whom can act too well, but do make handy victims.

The film is very well made, and moves along pretty crisply. As is proper, it does open with an unrelated murder, which is always a good way to start a movie. But more importantly, it has a genuine creepiness about it, mainly due to the Mannequins. This film had the creepiest mannequins this side of “Maniac” (1980), and the atmosphere really works well. For an example of how to make a very bad film with a lot of the same premises, watch the last “House of Wax” with Paris Hilton. Clearly whoever made that film saw this one, because there are a lot more parallels between “Tourist Trap” then with the first two (also superior) “House of Wax”.

This was also one of the horror films that used to pop up regularly on the Late Show on most regional channels. (Maybe make that Late, Late show). I also vaguely remember it popping up on TBS, back in the good old Night Flight days. Either way, this film really does come recommended. It’s the type of decent, craftily made ‘B’ material that doesn’t really get made anymore.

The plot is pretty simple: Tony (well played by Adam Arkin) goes over to Transylvania with his Father (Ed McMahon, in a pretty funny and boozy cameo) circa 1961, so Ed McMahon can do some Cold War era spying. He gets bit by a werewolf, ends up with the curse, and when he gets back to the States he abandons his life and school before the ‘big game’ to wander the earth, cursed as it were. Needless to say, 20 years later he turns back up to reclaim his glory on the Football film. Of course, circa 1980/81, times are a lot different, and some of the students (and one crazed ex-girlfriend) that he went to school with have all aged and grown up, unlike Tony. Will Tony finally win the big game against the school’s hated rival, and more importantly, be able to get his life back on track? Or at least figure out how to get rid of the fleas?

Horror and DELIBERATE comedy usually don’t go too well together. Sure, you get unintentional horror/comedy ala Ed Wood, or over the top slapstick gore like the excellent Evil Dead 2 and Dead Alive, but in general most simply don’t work. This one pretty much works: there are some slow parts and some dull parts, but it’s still pretty funny with a lot of great in-jokes and humor. It moves at a decent pace, pokes fun at a lot of horror conventions, and has so many odd cameos and B actors (even the father from the awful ‘Just the ten of us’ TV show), that the final result is a pretty funny film. It’s not on par with ‘Young Frankenstein’, but it’s still a good way to waste a hour and a half.

There are a few knocks on the film, of course. Some gratuitous nudity and a LOT more gore would have helped. Some of the cameos are great, but could have been fleshed out more. And some of the jokes are more ‘puns’: a lot of this film comes across as a sort of Catskills comedian humor. That being said, this film is still a hoot. I’m recommending this one, if only for Alan Arkin as a psychiatrist who preaches negative thinking.

The plot centers around a disgruntled film maker who decides to make a snuff film. The main character is Terry Hawkins, a newly released criminal who went to jail for dealing speed. Terry kind of looks like the average guy you’d see at a Motorhead or Black Sabbath show in the 70s. You know the type: Greasy, longish hair, beady eyes and a Leather Motorcycle jacket. He is more then a little bitter about the turn of events, and more specifically angry how he was screwed over by a producer he was making porn films for. In a voiceover, he rants how he’s going to ‘make everyone pay’. He rounds up one of his old friends (who had spent some time in an institution for having sex with a cow), and they talk about making films like no one has ever seen. “Something really different” as Terry puts it. They then round up two women and a cameraman, who shoots with a handheld 16mm camera. Their idea, obviously, is to make snuff films. The first film they make themselves killing an old professor of Terry’s, filming the whole thing as Terry strangles him to death. They then propose to submit the film to a porn producer looking for something different.
The back story surrounds the Producer who Terry hates, and him looking for new, different ‘product’. One of the main themes of this movie is that there is always a need for something MORE shocking, different then what came before. In one very telling scene, the producer is shown footage of a woman bathing and keeps remarking it has to be different. At one point a dog crosses the frame, and the producer remarks that now it’s getting interesting. There are also a lot of ‘behind the scenes’ looks at cheap film making and porn ‘loops’, and a very bizarre “industry” party with a hunchback whipping a woman wearing blackface. And no, Virginia, I’m not making this up.

The film basically looks at the other side of film making, the not so glamorous under belly, as it were. This isn’t Hollywood product, but the work of an outsider who can’t break into the system, and is forced to doing porno to make ends meet. When he finally has had enough, or feels screwed over enough, he decides to make a snuff film and see how that will work out. One of the best parts of the film is Terry screaming at the producer “I’m directing this fucking movie” as he begins the ‘snuff orgy’, for lack of a better word. The other great part, which was the tag line for the film, is “You bet your ass this if for real”.
The last third of the film centers on the very infamous ‘snuff orgy’. Terry and his gang trick the producer, his partner and two wives to a abandoned house, where they begin a very gruesome torture sequence. I can remember Fangoria magazine printing stills of this back in the eighties. The absolute nadir of it is when they use smelling salts to wake one woman up who faints from the pain. The whole time you are reminded that this is for a snuff film as the cameraman keeps filming with his hand held.

The film itself is very grainy, which adds to the overall feel. Even more oddly, the dubbing was done very badly (the director shot silently, and over dubbed all the dialogue in post production) and the mismatching almost seems to fit. At the same time, it’s very well filmed. It’s very well framed and put together. The credits are all very, very fake which also adds to the disorienting appeal of this film.

This was one of the most infamous films horror fans were trying to find back in the 1980s. It was a huge mystery, as there were clearly fake credits, bad dubbing and horrific amounts of gore. No one seemed to know anything about it. I remember a horror magazine printing stills of it, and fans from the Grind house circuit could remember it, but it apparently was a big mystery. Then Sun Video, a small distributor of VHS tapes, released a South American version with even worse third generation dubbing. It was around then that the rumors started that this may have really been a snuff tape. And if it wasn’t for the Internet, who knows what would have come become of it? But finally Watkins came forward and admitted to filming it, and gave the entire back-story of the film. His girlfriend had seen message boards inquiring about it, and encouraged him to come forward and explain.

Originally filmed back in 1973 in Upstate New York at a SUNY College, it was originally around three hours long and called ‘The Cuckoo Clocks of Hell’. A fly by night distributor bought the film stock, cut it up (and apparently destroyed a lot of footage, which is unretrievable) and re-named it The Last House on Dead End Street, a obvious attempt to cash in on Wes Craven’s grind house money maker Last House on the Left. All the credits were re-done, with the obvious fake ‘Victor Janos’ used as the Directing credit. This was dumped into Southern drive-ins and the Grind house inner city circuit, where word of mouth made it a small fortune.

Of which one Roger Michael Watkins, the director, saw none of.

The film was made on a three thousand dollar budget, which from Watkins’ own admission paid for him to stay buzzed on booze and speed during the entire shoot. He wanted to make a real statement about film making, and although the film is very low budget, his talent does shine through. This film almost seems to be a foreshadowing of things to come: Watkins never did get a big break, and ended up making XXX films for Grind house theaters. One source notes he only found out his film had been heavily edited and released when a Grind house patron spotted Watkins on the street in NYC in the late 70s and remarked that he had just watched him at one of the theaters on the deuce. He went to the theater and was stunned to see the film he thought lost lo those many years.
Watkins then went back to work making very misogynistic, violent porn like “Her Name was Lisa” and “Corruption”. It seemed that the very thing he most feared had come true: Not only had his prize film been chopped up and released, not only had he seen not one profit from it, but he was directing low budget porn for one of the cheapest, foulest producers in the industry. He gave on film making by 1988.

After Watkins revealed the true secret of the film to the world, Barrel Entertainment (and I think they are going out of business, which is a DAMN shame: they really knew how to release the cult horror and hard to find stuff properly) got together with him, somehow got damn near the most complete version of the film they could find, and put together a beautiful two DVD set of the movie. They restored the picture, but because it’s still from left over sources, it still has the off dubbing and the scratchy images. In other words, it still kind of looks like a snuff film. The movie lost it’s magic a little bit, as I remember watching the Sun version and being scared out of my fifteen year old mind. It really did seem like the work of a maniac at the time, and while I didn’t think it was a snuff film, there was always a little bit of me that wondered, what if? Just what if?

Watkins passed away in March of 2007. He never really got his due or even his chance at making another film. He did however leave this very odd, very disturbing and graphic look at film making.

So, do I recommend it? You bet your ass I do.