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5 Quintessential Splatter Films

Braindead (1992)

Explicit gore was beginning to infiltrate the grindhouses of America, and ensured that employees of the British Board of Film Censors were working hard for their salaries. Strong reactions from the public, fuelled by politicians, tabloids and critics, set in motion outrage that would result in many splatter films being outright banned; especially in the United Kingdom.

“I created what no man’s mind nor woman’s womb could ever hope to achieve.”

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Islandrocks? Fulci Funk!

WE ARE GOING TO DANCE! (The Fulci Way) ... The Funk Are Among Us!

Swedish musician Thomas Nyholm, under the moniker of Islandrocks, creates these insanely good cover versions of exploitation, cult classic theme songs, such as City of the Living Dead (1980), The Beyond (1981), Suspiria (1977), Class of Nuke ‘Em High (1986) and The New York Ripper (1982).

“We are going to dance the Fulci way! Zombie …the funk are among us!”

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You Ain’t Got to Pull That Blacula Shit With Me. Black Vampires in: Vampire in Brooklyn and Blacula

Blacula (1972)

“You ain’t got to pull that Blacula shit with me.” The line is an attempt to link what seems to be a half-hearted star-vehicle with something else: blaxploitation. By simultaneously comparing Murphy’s ’90s effort with its ’70s predecessor, whilst slyly digging at the older genre’s foibles, the gag it is a somewhat noble, if pithy, effort to give Vampire in Brooklyn more heft.

“Interesting. I’ve been stabbed, and I’ve been hanged, and I’ve been burned. Even broken on the rack once, but I’ve never been shot before. Kind of itches a little!”

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Ulzana’s Raid (1972, USA)

Ulzana's Raid (1972)

The Western is the most American film genre of them all, encompassing a variety of themes and time periods. The 1970s were a fertile period for films that questioned traditional beliefs about our country’s march towards the Pacific, the interests of big business versus individual rights, its treatment of the indigenous peoples and notions of heroism.

Ulzana’s Raid can be viewed as a horror movie that takes place in the West or a Western with all the trappings of a horror film.

“One man alone understood the savagery of the early American west from both sides.”

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JAWS and ELVIRA, MISTRESS OF THE DARK Merchandise from Fright-Rags

Fright-Rags' Jaws and Elvira Merchandise

You’re gonna need a bigger wardrobe with Fright-Rags’ ever-growing line of horror apparel. Before you head out to Amity Island, it’s time to expand your summer wardrobe with Jaws apparel. Then fall approaches… Evil. Terror. Lust. Some girls really know how to party, so be prepared for the Halloween season with Elvira, Mistress of the Dark tees.

“Unpleasant dreams…”

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Beyond Horror Design Trading Cards

The Beyond - Beyond Horror Design

Under the moniker of Beyond Horror Design, James Stewart has created these incredible, retro-stylised trading cards, based on exploitation cult classics such as The Beyond (1981).

“Woe be unto him who opens one of the seven gateways to Hell, because through that gateway, evil will invade the world.”

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DAWN OF THE DEAD, HATCHET and HOUSE OF 1000 CORPSES Merchandise from Fright-Rags

Dawn of the Dead, Hatchet and House of 1000 Corpses Merch from Fright-Rags

Fright-Rags have released new merchandise relating to George A. Romero’s Dawn of the Dead, Adam Green’s Hatchet and Rob Zombie’s House of 1000 Corpses. So, when there’s no more room in your closet, the dead will truly walk the earth! There’s no turning back…

“When there’s no more room in hell, the dead will walk the earth.”

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Almost Human (1974, Italy) Shameless Blu-ray Review

Almost Human (1974) Shameless Blu-ray

Before Umberto Lenzi’s 1981 exploitation film Cannibal Ferox (aka Make Them Die Slowly) was “banned in 31 countries”, Almost Human had a reputation as a particularly nasty Italian crime thriller.

The late, great Tomas Milian (The Designated Victim) stars as the sadistic, criminal low life Giulio Sacchi, a man capable of rape, torture and murder.

“CAUTION: This picture may shock you, but it’s an experience in psychosadism you’ll never forget!”

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Truck Stop Women (1974, USA)

Truck Stop Women (1974)

This film was typical of the drive-in features Claudia Jennings appeared in the early 1970’s, with one notable exception. Although Truck Stop Women demonstrated what audiences would identify as the quintessential Claudia Jennings character, this was no working class, feminist hero Karen Walker from Unholy Rollers… In this film, Claudia commits about every original sin and violates a few new ones. She could easily be considered one of the screen’s best villains- a living nightmare, having no feelings for fellow human beings, and perhaps the sexiest sociopath of all time.

“No rig was too big for them to handle!”

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Claudia Jennings: The Cult Icon Who Fell to Earth

Claudia Jennings

For Claudia, The Man Who Fell to Earth was a dream come true. She was working with a veteran, respected director on a major film. This is what she had been waiting for… While her role was unbilled and her screen time was very limited, her impact on the movie was much greater than her brief appearance would indicate.

“The tragedy of her death was quite shattering, but in a strange way perfection for the scene [in 1976’s The Man Who Fell to Earth] upon reflection.”

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Eraserhead (1977, USA)

Eraserhead (1977)

This [month] marks the 40th anniversary of David Lynch’s enigmatic cult film “Eraserhead”; a bizarrely strange and surreal body-horror film that is sure to get under your skin. In 1977, the film became a popular ‘Midnight Movie’ and has continued to bother viewers’ minds since then.

Every single scene is shot in stark black-and-white with constant industrial background ambience, which is sure to make the viewer feel on edge. Love it, or hate it, this movie will for sure leave an impression on you.

“Where your nightmares end…”

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Don’t Look in the Basement (1973, USA)

Don't Look in the Basement (1973)

Directed by S.F. Brownigg and released in 1973, Don’t Look in the Basement is an independent horror film that was unfortunate enough to fall foul of the UK media upon it’s 1981 home release; yet fortunate enough to not be prosecuted under the Obscene Publications Act in 1985.

For me, Don’t Look in the Basement was an impulse buy on home video, spurred on by the film’s cult status and history as a ‘video nasty’.

“The line between sanity and madness can be crossed in a single step. And with this step you enter the nightmare world of terror. On the day the insane took over the asylum!”

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