“Ban video sadism now… Seize the video nasties!”
The Evil Dead has a cozy shirt (and cabin) with your name on it… The 1982 horror classic that created its own sub-genre of supernatural splatter film is here in full force on a brand new Creepy Limited offering.
Gutter Garbs have released three brand new designs by Samhain 1992 and Mister Black on short sleeve tees (plus a limited variant), a long sleeve tee, baseball tees, and a poster print in tribute to the demented marauding zombies in Lucio Fulci’s The House by the Cemetery.
Shudder’s January 2022 lineup of terrifying cinema includes new Shudder original and exclusive films like Gabriel Carrer and Reese Eveneshen’s For the Sake of Vicious, Kier-La Janisse’s Woodlands Dark and Days Bewitched: A History of Folk Horror, Edoardo Vitaletti’s The Last Thing Mary Saw, and Thomas Hamilton’s Boris Karloff: The Man Behind the Monster.
If you are looking for a subgenre of horror that emphasized graphic violence and shock value above all else, look no further than the Italian cannibal movies of the 1970s and 1980s.
A culturally significant part of the 70s and 80s was the rise of the independent VHS store. The story of the owners, clients, movie stars and producers that shaped the VHS era is captured perfectly by director and writer Mark Williams.
Unless one is of a certain age it might be difficult to relate to VIPCO’s feature-length release of the documentary VHS Forever? Psychotronic People. It harkens back to the dawn of serious movie watching, especially those of a subversive and transgressive nature. The documentary manages to capture the thrill of so many cinephiles to be able to access obscure, forbidden and strange films, but at the same time, shows the paranoia and very real legal concerns operators of video stores faced during the era.
Directed by the prolific master of the macarbre, Lucio Fulci, The Beyond is the second film in Fulci’s ‘Gates of Hell‘ trilogy; a series of horror films all connected by a unifying theme, and actress Catriona MacColl. In each of these films, one of seven gateways to hell is activated, bringing misery to those unfortunate to stumble upon the doors of death.
For fans of cheese and sleaze, it doesn’t get any better than Jess Franco’s deranged cannibal classic Devil Hunter – finally on UK Blu-ray from 88 Films for the first time to be devoured by Euro cult enthusiasts and video nasty lovers alike.
For years fans waited for the release of a sequel to Ruggero Deodato’s trendsetting Cannibal Holocaust, yet it would take almost a decade for The Green Inferno to arrive… and it wasn’t what followers of the Italian cannibal cycle were expecting.
First there was Cannibal Holocaust… Then came Cannibal Ferox… But somewhere in France, someone was already hatching a plot to cash-in on the Italian intestinal classics with Cannibal Terror!
The Mountain of the Cannibal God was originally released in United Kingdom under the name Prisoner of the Cannibal God, and added to the Director of Public Prosecutions (DPP) list of “video nasties” shortly after its home video release. Although The Mountain of the Cannibal God was one of the 33 “video nasties” not prosecuted under the Obscene Publications Act, it remained unavailable on home video until 2001.
Lucio Fulci’s The House by the Cemetery (1981) is notorious in the United Kingdom for being one of the 39 movies that were prosecuted under the Obscene Publications Act in the 1980s. Dubbed a ‘video nasty’ by the garbage British tabloids, The House by the Cemetery was effectively banned from distribution and personal possession…
If you are prepared to endure the awful dubbing, The House by the Cemetery is deserving of its cult reputation.
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’.
