See prang (aka: 4bia/Phobia)

OK, so, technically I’ve reviewed these films in the wrong order. First, I reviewed Phobia 2 (don’t forget to check out my review of it) and now I’m reviewing the first one, but fear not loyal readers, there’s no connection between the two anthologies.

In its native Thailand, the movie is known as ‘See prang’, but to us Westerners it’s known as either ‘Phobia’, or ’4BIA’. No matter the name, the idea is the same; the movie is made up for four shorts all with a common theme; horror! Yay!

The first short, Happiness, is unusual in that it has no dialogue what-so-ever, all the information is conveyed through text messages sent to, and from, a girl who is alone, and bored, in her small apartment. Unable to leave due to having a broken leg which she sustained in a car accident. While the story to this one isn’t bad, it’s a bit boring since the first ten minutes is the girl sending and receiving texts with her making all sorts of happy/excited faces. Like I said though, the story aint bad, and while the end is scary, it’s a bit of a cheap shot.

Next up, Tit for Tat. This one is easily my favourite of the four. A gang of unruly youths are bullying a weak kid. They really give him a good going over and threaten to toss him from the back of their moving pick-up truck. His shirt tears and he falls from the truck. It seems he survives the ordeal, but appears to visit the gang in a last act of defiance. As they try and show him who’s boss a series of events happen and we see that the weak kid really isn’t all that weak after all. Revenge is the motto here. The story is a typical curse/revenge story, but the deaths and effects really shine in this one. There are a couple of very imaginative deaths, with good gore, and some scenes use CGI, some creatures are also CGI, but it’s all done in such a creepy way that you’re really not paying attention to the animation! Again, good ending, but don’t watch it if you’re superstitious!

Third in the series is In The Middle, which is a story about four guys out camping in the woods. One of them tells a ghost story and one of the guys promises that if he dies, he’ll haunt whoever is sleeping in the middle of the remaining three. Well, of course, there’s a white-water rafting accident and one of the quartet is missing. He eventually turns up, but doesn’t quite seem his old self. This is a funny story, and a good story too, nice twist ending to it. This story stars the same four guys who were in the last, very funny, story in Phobia 2.

And the final story is Last Fright. This one is the story of a Princess who is flying out of the country and requests the same air-crew as her last flight. The stewardess agrees and they take off. Mid-flight the stewardess brings the Princess coffee, which she spills on the stewardess scalding her arm, then comes the main meal… which the Princess refuses and wants the stewardesses meal instead. The Princess has an allergy to prawns, so the stewardess removes the prawns thinking that would be fine. Not so. As they land the Princess is whisked off to hospital where she later dies. Now the stewardess has to sit through the return flight, looking at the Princesses mummified body! This one was an OK story, good suspense, only let down by a really weak ending.

So, if I had to rate them from best to worst:

1. Tit For Tat
2. In The Middle
3. Last Fright
4. Happiness

Again, another good anthology, although if you want more bang for your buck, I reckon Phobia 2 is actually better!

Rating: 3 out of 5 stars <– if the ending for Last Fright had been better, it would have been a solid four.

Gotta love that tagline.

Dellamorte Dellamore (translated to Of Death Of Love, which can then be easily jumbled around to Love of the Dead) is a title better known to most American audiences as Cemetery Man.  Regardless of which title you prefer to adopt for it however, it is a film that is widely considered by horror aficionados as the last great Italian horror film, and in particular the last standout zombie picture in the long lineage of the countries contributions to the sub genre.  While Fulci and his peers were busy pushing the limits of on screen violence and nurturing the inherit apocalyptic nature of the dead coming back to life, writer/journalist/novelist Tiziano Sclavi was hard at work on what we might call a comic book series called Dylan Dog about an investigator who looked into nightmares.  As with anything that is held in even remotely high regard in print, it was loosely adapted for the silver screen.  While that history is certainly interesting, and may even give insight into the wildly surreal and dream like qualities of Cemetery Man, it isn’t vital to enjoying and thinking critically about the movie itself.  What is of utmost importance is the ability to just go with the quite jarring and constantly morphing flow of the picture, allowing yourself and your imagination to free associate the many clues and symbols embedded within the flick, and let your mind fill in the gaps that arise from its sordid and often misconstrued storytelling methods.

Our story is, at its base, one of a cemetery keeper who has not only the nasty chore of burying the recently deceased, but keeping them under the pounds of dirt he shovels on top of them.  See, Francesco Dellamorte (an ironic name that even the character pokes fun at in the very beginning of the film) battles zombies almost nightly, and with his trusty revolver and spade, and the assistance of his near mute helper Gnagi, he keeps the tenants of Buffalora cemetery within the gates by either shooting them in the head, or driving objects through their rotting skulls.  For a horror movie, this is more than enough to justify a standard 90 minute run time, but what makes Cemetery Man  so interesting and open to interpretation is that it is a film with films inside it.  There are love stories for both of our flawed and damaged reluctant heroes (Gnagi and Frances), there is a ingeniously deceptive detective story complete with twist, and then there is the ultimate question that plagues any intellectual viewer of this movie.  Where on Earth, or outside of Earth, is this all taking place?  Before I throw down my loose theories about the messages and mysteries contained within, let me first analyze it as a piece of  horror entertainment.

This is exactly how I open my door.

Cemetery Man leans heavily on the acting of its male lead Rupert Everett, which is a good thing considering he does a magnificent job conveying the many facets of Frances without the movie or the character ever coughing up any major information as to his personal history.  Besides mentioning that he doesn’t read much and never finished high school, we are instead treated to my personal favorite of all methods for establishing a characters motives, values, and even their beliefs.  The method is simply his actions.  His movements, the way he expresses his emotions and treats those close to him, and almost every other behavior all compiles together into giving us a better understanding of Frances, and if you take the plunge and see this movie (or watch it again, which I also highly recommend) you will learn that understanding Frances may be the key to understanding the film as a whole.  Outside of our enigmatic lead, Anna Falchi also graces the screen with her unique beauty, and brings some acting and modeling credentials to the multiple characters she plays, all of whom are cryptically named as “She” only.  She may not be the best actress, and at times it seems like either she is being subtly dubbed or having a hard time speaking perfect English (she is Italian after all), but for what her characters demand, it seemed fitting that someone who is beautiful, but not in a conventional sense, would play those parts.  In particular, I noticed that her eyes and eye make up changed for each of her 3 “shes” she plays, which may denote a change in the film itself, perhaps opening another chapter every time she reappears.  Gnagi, played by François Hadji-Lazaro, also lends a great deal of depth to the set of personalities on screen, and without hardly muttering any words, and not a full sentence until the very end of the picture, manages to serve as the loyal, but sometimes useless, compatriot to Frances.  He is there with him through thick and thin, and seems to serve as a reminder to Frances that even as along as he feels, he never truly is completely alone.  The rest of the supporting cast are all good, but they get nearly as much time and dialogue as these 3 do, which means that I don’t feel the need to elaborate on their fine performances.  But trust me, they are all well beyond adequate, and in the odd case there is someone you don’t particularly like, don’t worry, they will be dead soon enough.

Frances and "She" spending some quality time in the ossuary.

Michele Soavi (who directed another one of my favorite horror flicks of all time, Stagefright), with competent acting in hand, wastes no time in unraveling his surreal and morbid vision.  The pacing of the film is incredible, surrendering the typical pseudo-tension found in most horror flicks for an off-beat but blistering tempo that is always striking you with violence, sex, dark twisted comedy, or a combination of those 3.  Soavi comes off as a fan and student of the Italian Spaghetti horror films that dominated the underground and foreign markets for much of the 80′s, while at the same time balancing the tragic and dreamy mind fuck that is the narrative.  As I mentioned earlier, it seems like there is at least two movies being told at once, with the major determining factor between the two being the night and day cycle, as well as the lighting and the soundtrack changes.  Night time looks amazingly detailed, never suffering from “I can’t see SHIT” disease that I hate with a every fiber of my being.  Soavi also employs some clever POV shots, usually from the perspective of the dead or soon to be dead person in the scene.  It is used just enough to cement it as a legitimate tool in Soavis directing arsenal, but is done with enough restraint to not come off as a simple gimmick.  If you are a fan of European architecture with a Gothic flair to it, the scenes within the cemetery and surrounding area are sure to please you.  The film really shines during the night scenes more so than the day, and it reeks of a perfect unison between director, cinematographer, and photographer, who all seemed to understand how to make scenes not only look beautifully lit and well composed, but dark, eerie, and other worldly all at the same time.  This is without a doubt one of the most visually arresting horror movies I’ve ever seen, and maybe the best to date.

One of the clever POV shots in the film.

While it is commonplace in modern cinema to have sound effects and a inappropriately loud and obnoxious soundtrack or score dominant the dialogue of a film, it wasn’t so common even up through the mid 90′s.  The sound in Cemetery Man will probably sound dated to most, but then again you can say that the sound in JAWS is dated, in which my response to both is fuck you.  Gunshots are clear and sound as if they are being shot from a gun that has been shot many times before.  The soundtrack deliberately switches many times in order to extract or set a mood for a particular scene.  The dialogue also comes off fairly clean, although it could have been more crisp, but we will chalk that up to it not being a production that was not made on an astronomically large budget.  Whatever mild sins may have been committed by the available technology in the audio department are surely made up for by the special effects and visuals ten fold.  The blood and gore is incredibly visceral and strong, and Soavi shows confidence in his splatter man when he doesn’t jerk his camera away from head shots and other grisly images.  Speaking of which, this may be the movie with the most head shots I have ever personally seen, and each one looks more dynamite than the last.  Lighting, set design, filter choices, costumes and make up are all top notch and don’t feel dated or cheesy in the slightest.  If this movie were made in America, you would be able to spot the outdated attire and social wear from a mile away, but since this movie is a European production, the clothes have much more of a timeless and classic feel.  Same goes for the locations.  Beautiful architecture really helps set the stage, and the cemetery itself seems full of wondrous little alleys and coves begging to be explored.  It looks like the kind of movie you want to jump right into just to walk around and explore it.

Goodbye Boy Scout. Send the girls back with some cookies.

Cemetery Man is, or at least was for me, an answer to many wishes when it comes to my beloved zombie sub genre.  It is fast paced,never boring and it combines trippy, almost hallucinogenic visuals with classic elements of European horror film making.  It is unapologetic in its cryptic nature, which some have unfairly dubbed as simply confusing, and it is a startling example of how to try an add depth to something that could have existing solely on its surface values.  If you consider yourself a zombie film fan, or even a horror fan in general, and you haven’t seen this, you should do so immediately.  It belongs within every conversation about horror, especially if the conversation is about classics of the 90′s, and can even be looked at (as I do below, beware though it is full of spoilers) in an analytical sense if you are so inclined to try and figure out what is really happening.  Either way, don’t let this one sit there in your “Yeah, I’ll get around to it” pile.  You’ll learn to Love the Dead.

Rating: 4.5 out of 5 stars

Fuck, that is an awesome giant puppet.

BONUS THEORIES!

Now onto my theories about the actual meaning and psychology behind the film.  If you haven’t yet watched it, I suggest you do at this point.  Cemetery man at first struck me as a story of a man in purgatory or hell, who is meant to learn about the differences between life and death (see his short talk with the death stature towards the end of the film for confirmation of this) or maybe even life itself while he himself rots in a cemetery where he must “re-kill” the undead.  The “She” character could easily be seen as the Devil, as every time she pops up, Frances sets himself back further from learning anything from his mistakes as he takes the bait on her “love” and pays dearly for it every time.  Outside of a religious context to the tale, there is also the possibility that Frances has a very vivid imagination, and that isolation, besides his friend Gnagi who could ALSO be seen as just an elaborate hallucination, has started to play tricks on his mind to the point where he truly believes the dead rise up from the ground and that it is his job to put down the “Returners” as he so eloquently puts it.  There is also the possibility that whenever night time comes along, what happens during the dark is a dream, and maybe he sleepwalks and acts out his dreams.  Of course, these are all just theories, each one having massive holes in them, and would welcome anyone to help me formulate an airtight meaning to this very cryptic gem I love so dearly and hold close to my horror loving heart.

END OF BULLSHIT THEORIES!

The Devil? Perhaps.

—————-
Now playing: Nadja – Clinging To The Edge Of The Sky
via FoxyTunes

The upside is, zombies are probably cheap dates and they can't say no.

Night of the Creeps (or just Creeps for short) straddles the line between what I feel is too popular to review, and what is under the radar enough to write about.  If you haven’t noticed, I rarely write anything about movies that already have established a strong set of fair and thorough reviews online.  Creeps however, has seen a boom in popularity and visibility in the Internet era, mostly due to the fact that it has yet to be released on DVD so many turn to the web for info and access to rare cinema.  But thanks to endless efforts of the piracy generation, Creeps remains watchable in many places on the web, which is very fortunate considering that this movie is easily, and beyond any shadow of a doubt, one of the best movies not only of 80′s, but of the entire genre as a whole.

Fred Dekker, who both wrote and directed this gem, seamlessly combines unbridled appreciation for the genre as well as mixing in elements that “spoof” the many trends he saw being beaten to death by the explosion of horror clones and cliches that erupted during the 80′s.  In modern times, spoof has become a dirty word (thanks for ruining the lineage, Scary Movie), but Dekker shows that poking fun at something doesn’t mean you can’t, yourself, make a great movie full of heart and homages to the icons of the very film community you are lampooning.  This is nowhere more obvious than in the names of many of the characters in the film, which range from Cynthia Cronenberg,  Christopher Romero, to Detective Sergeant Raimi.

Oh geese, if Roger Corman did ever open a school, it would no doubt be along the Devil's Highway. One of many inside jokes to be found in Night of the Creeps.

Speaking of the characters, these may be some of the best, and funniest, of the horror class.  Dekker has balanced the two accepted methods of character development, the first of which being back story and character to character exposition.  The second, and the more difficult to pull off, is letting the characters actions and behaviors define and legitimize them.  Of course, without good acting, this is nigh impossible.  Genre vet Tom Atkins shows up as the haunted and disgruntled cop and does a great job at adding levity and back story to the nameless college town.  Much credit must also be given to Jason Lively, Steve Marshall, and Jill Whitlow, who turn what could have easily been flat, two dimensional college kids trying to find themselves into likable, mature, and often deep on-screen persona’s who help to drive home both the surface action and events, and the messages that Dekker has implanted within his wildly efficient script.  The rest of the cast does a wonderful job of bringing to life the more stereotypical characters, with the two noteworthy bit parts being played by David Paymer and Dick Miller.  It’s rare that good to great acting and rapid fire, natural feeling dialogue come together in something as unsuspecting as a “horror movie”, but Creeps is proof positive that movie class limitations are never all enclusive, and that exceptions exist and can still hold up to its past contemporaries, as well as its modern day ones.

I was going to make a Walt Disney joke here, but the movie actually does that in this scene. Gotta love the 80's idea of futuristic science and labs, which seem to be purple or blue lighting, and many buttons blinking arbitrarily.

Dekker, in his first voyage behind the camera, makes amazing use of every bit of his ephemeral 1 hour and 28 minute run time.  Creeps never gives you a second to become bored, and Dekker manages to cram a ghost story, a slasher story, a love story, a coming of age story, a friendship story, a parasite alien story, and a zombie story into one movie without losing sight of any of the many strands of narrative he has weaved.   Normally, when a movie tries to do this much, it winds up finding itself lost trying to fuse together too many different types of pacing and thematic motifs.  Dekker however, seems to have viewed this as little more than an old wives tale, as he masterfully throws together all the major brands of genre film into one pot, deriving the best that each has to offer, while keeping some of the charming flaws intact in order to either use them for a comedy piece, or just as a humble and loving tribute to the flicks that he himself must have been very fond of.  Dekker’s directing comes off as a delicate mid-point between being both a fan of the groundbreaking and popular films and filmmakers that came before him, as well as being a student of what made those pictures so legendary and appealing to both himself and the masses.  Lighting and pacing are of the highest order, and Dekker never falls victim to bad nighttime shooting or lingering on scenes or shots that just don’t require that much focus.  His lens is mainly an observer, but there are moments when he uses a bit of flash to put emphasis on a particular scene.  Dekker also shows great understanding on how to shoot an action sequence, of which Creeps has a few, and he also knows how to built up to and deliver a satisfying payoff to his audience without leaving them feeling cheated in the slightest.  I could go on and on about how Dekker really  knocked this one out of the park, but I will instead just say that he indeed did shoot a great looking film that has no glaring flaws and moves like a speeding train.

Thrill me.

The technical package from Creeps is nothing short of sublime.  The already mentioned lightning is superb, but alongside this are some dynamite effects and tight audio.  The soundtrack doesn’t really stand out, besides clever use of some 50′s pop standards like “Smoke Gets in your Eye” to set the mood in the beginning and also forewarn of more danger during the final few scenes.  I am fine with the fact it doesn’t stand out, since the dialogue is so snappy, witty, and razor sharp that it would be a shame for music to overshadow that strength.  Visually, the picture is very crisp and clean, obviously aided by Dekker’s careful eye in framing and presenting shots that show the audience in crystal clarity everything you need to see.  The blood, gore, and special effects are entirely of the practical variety, meaning those of us who love rubber, latex, and Karo syrup can rejoice.  Thankfully, the R Rating means that exploding heads, heads blown up by flamethrowers (has to be seen to be believed), grisly bullet hits and like are all unhampered by the crutch of modern day computing technology and other such bullshit, cop-out wankery.  Creeps looks spotless, boasts some awesome special effects that don’t shy away from the more hardcore gore, and music knthat ows when to move to the forefront, and when to stay in the back and subtly do its job.

So...is that what a splitting headache looks like? I know, that joke sucked. I'll be over here in the corner, killing myself.

Night of the Creeps may have a devoud, cult-like following, but I feel if even one more person read this review and hunts it down and watches it, then it is a success.  Dekker and company have crafted film(s) within films here, with clever jokes hidden throughout (see if you can spot the Monster Squad reference and always look at posters and books in the main characters living spaces) and a breakneck pace that is always busy assaulting the viewer with something worth paying attention too.  It manages to coral many subplots and thematic devices, while telling two main stories (The “two geeks” story and the detectives story), each so good and thorough they could have been separate movies.  The acting seems otherworldly it’s so good, and the special effects and visuals all feel as comforting as the cool side of the pillow, striking a balance between campy and homely, and professional and impressive.  Night of the Creeps is something of an enigma, a missing link, and if nothing else, a silent legend in the annals of our beloved genre.  If you have yet to experience what all the hub-bub is about, it is about fucking time.  If you didn’t know what Night of the Creeps was until now, consider yourself enlightened.

Rating: 5 out of 5 stars

Here are 2 links to watch the movie for free, in its entirety.  Both links tested and confirmed working, Veoh requires you sit through a short ad, and Youtube is broken into parts, but they both work!

Youtube

Veoh

P.S.  There are two endings to this film, I have included the Wikipedia page and a fan based page that explains the differences.  Both are good, although the original, longer ending that Dekker wanted to use is definitely better.  Worth a read only after you see the film, as it does contain some spoilers.

Night of the Creeps Wikipedia Page

Night of the Creeps Alternate Ending Synopsis and pictures.

Badass. Digging the Communist theme.

Repo! The Genetic Opera is the brainchild of Darren Lynn Bousman, who most of you know as one half of the team that made SAW such an immensely popular and lucrative franchise, and buddy Terrance Zdunich, who is mainly a storyboard artist working on movies and TV shows.

Here’s a quick snapshot of the plot.

In the year 2056 – the not so distant future – an epidemic of organ failures devastates the planet. Out of the tragedy, a savior emerges: GeneCo, a biotech company that offers organ transplants, for a price. Those who miss their payments are scheduled for repossession and hunted by villainous Repo Men. In a world where surgery addicts are hooked on painkilling drugs and murder is sanctioned by law, a sheltered young girl searches for the cure to her own rare disease as well as information about her family’s mysterious history. After being sucked into the haunting world of GeneCo, she is unable to turn back, as all of her questions will be answered at the wildly anticipated spectacular event: The Genetic Opera. Written by Lionsgate

If there’s one thing that is grossly apparent right off the bat, it’s that Bousman and Zdunich have a lot of respect and love for cult classics such as Rocky Horror Picture Show and also seem influenced by more elegant and classic opera works such as Phantom of the Opera.  There’s even a bit of The Who’s rock opera Tommy in there.  It’s no shock that the mind that helped push the SAW franchise forward would be able to create a Gothic, dystopian future, but credit must be given for slick, yet earthly atmosphere embedded in the sometimes hallucinogenic visuals of the film.  It looks great, period.

Bousman manages to keep the narrative moving along swiftly with great focus, even while dealing with the difficult medium of opera.  That’s right kids, an opera where no word of dialogue is ever simply “said.”  Unlike musicals, where there can be breaks in between musical passages to drive the story home with normal movie dialogue, Bousman ensures that every word is “sung”, which can be very awkward at first when your not expecting it.  It’s difficult to accurately describe, but once you see and hear it you will clearly understand what obstacles must have popped up from this bold and daring choice.  Other than that, Bousman also unleashes some incredibly awesome graphic novel panels to fill us in VERY quickly of a particular characters background.

Paul Sorvino and his shotgun-wielding ninja chick bodyguards.

It may be a tricky type of film to make, but Bousman is a razor-sharp horror producer and director, and knew that if he brought in the right talent, he would have a chance to lure in a slew of fans regardless of the experimental nature of the film.  Paris Hilton (Super Global Slut) , Anthony Head (Giles from the Buffy TV Series), Sarah Brightman (acclaimed opera/classical singer and once married to Lloyd Weber who wrote Phantom of the Opera), Bill Moseley (Of House of 1,000 Corpses and The Devils Rejects fame) and Paul Sorvino round out the eclectic nucleus of the cast.  Terrance Zdunich also has a fairly large role as the Graverobber, and steals the show with his “Zydrate Anatomy” song.  The cast is, like so many aspects of this brave venture into total cult cinema, uneven throughout, with those who can sing clearly being more enjoyable and tolerable than those who can’t, with Alexa Vega and Bill Moseley probably being the two biggest culprits.  Hopefully the star power and notoriety brought by those actors outweighs the damage they have done by simply being the weak links vocally.

Sarah Brightman definitely has some bitchin' pipes. And she's kinda sexy, in that scary way. She's probably a goddamn witch in real life.

Which leads me to my assessment of the acting itself, which again can be easily defined as uneven.  While some amount of over and under acting is perfectly acceptable in horror, especially in something this theatrical and over the top, but sometimes the cartoon like personalities crossed the line between tasteful and embarrassingly out of place.  At times the actors would play very serious, as if this carried the same weight as The Phantom of the Opera, and at other times it was clear everyone was having fun and things were much more airy and carefree.  I waited for the flick to settle down, and choose a definite mood and direction, but it never did, as it gleefully jumped back and forth between trying to be emotionally heavy and serious, and being grin-worthy, funny and lightweight.  Maybe I am reading to much into something that can’t truly be defined, but I would have loved to see some lines drawn pertaining to acceptable behavior from all characters, as you would with any other film.

She's got the creepy, googly eyes. Burn at the stake, you kinda-sexy witch.

The final piece of the Repo puzzle is one that isn’t a very common problem in movies, the soundtrack.  That’s not to say all movies has great soundtracks, but they also don’t rely as heavily as Repo does on its’ music.  So how does the song selection hold up?  Take a guess.

UNEVEN.

Some of the songs, like Zydrate Anatomy and Legal Assassin knock it completely out of the park, while others are either too short or too gimmicky to be considered truly great. While taste is bound to vary from viewer to viewer, I felt the music was acceptable, but could’ve benefitted from maybe one or two ballads complete with verses, chorus, and a bridge and a few more rock and roll anthems.

There's also some gore, which is very well done, but used very rarely.

I, like so many of you, have waited for years, eagerly anticipating this movie to be released in any format, anywhere.  And while it may look and sound like I have nothing but negative things to say about Repo!, I feel it’s a case of me being exceptionally critical of a piece of work I felt had all ingredients to really show the world how versatile the “horror” genre can truly be.  Repo is by no means a failure, but instead comes off as a combination of over-indulgence and lofty ambitions.  It succeeds at what it aimed to do, but the cost for achieving that goal may be a dent in Bousman’s reputation, depending on how this is received in the community.  There’s no doubt in my mind that this vehicle can be used to create an amazing, genre-bending film, but Repo! isn’t that flick.

There’s a lot of psychotropic, semi-gory fun to be had with Repo!, but it’s kinda like looking for a 20 dollar bill in your friends extremely messy room, you know it’s worth it to look, but your gonna have to sift through some shit to get what you want.

Aftermath - written and directed by Nacho Cerda

This is one sick puppy of a short movie, but it’s done so well that you just have to give a hearty pat on the back to writer/director Nacho Cerda. It uses slick special effects and, surprisingly, no speech what-so-ever.

It may look like an actor but it's actually a special effects prop!

The thirty minute short begins with a rather long four minutes of quick cuts as the credits are shown, after five minutes were in to the meat of things (pun fully intended). A male cadaver (above) lies on a metallic table and is dissected by a surgeon using various evil looking devices. This is all done as a second surgeon is looking on. This second surgeon begins a dissection on a second body as surgeon one completes his job. I did snigger as surgeon one grabs all the internal organs, stuffs them in to the chest cavity, picks up the brain, jams that in too then pulls over the chest skin akin to how a desperate holiday goer would pack their suitcase.

a FEMALE?!! Boioioioinnngggg!!!!

Surgeon two has a sparkle in his eye as he sees that his next body is actually a female (above). He lovingly disrobes her then gets kinky with a knife, running it over her lips and up and eventually slicing open her chest. With his left hand on her right breast and his right hand under his surgical gown, we’re pretty much sure now that he’s a bit of a sicko.

That camera will come in handy later...

After cracking open her chest cavity he begins taking, what we assume to be, medical photographs of the deceased. While this may (or may not) be the case, it comes in handy for his next ‘examination’. With his trousers at his ankles he decides to manually test the internal temperature of the body with his own special probe…

Yes, that is indeed a bare assed man humping a corpse...

Not only is our sick surgeon screwing a dead body with its guts wide open (above) but he is ingenius enough to incorporate the time-lapse function of his camera (below), happily snapping some shots which he no doubt later handed in to his local 24hr developers.

Told you that camera would cum in handy later...

The ending is something I’m unsure about as all text in the film is in Spanish, I’m sure the ending means something to the Spanish viewers but either way, I get the jist (jizz?) of the movie. It’s sick, slick, and very well done.