Directed by Richard Griffin
Distributed by Monster Pictures
It’s the late ’70s, and the dance floor is the place to be. Out there amidst the flailing limbs and neon lights, no man is as seductive as Rex Romanski (Reed) – his legendary moves cementing him as the cream of the crop of the local disco scene, and thus also cementing him very firmly in the underwear of any young lady who catches his eye out there amongst the sweaty, cologne-slathered throng.
This time, though, Rex is about to make the worst mistake of his life. After dancing, and subsequently sleeping, with the mysterious Rita (Sullivan), Rex finds himself in hot water when he shirks his new beau for the irresistible allure of legendary porn actress Amoreena Jones (Nicklin). Yes, hell hath no fury like a woman scorned – especially when said woman is a demon-worshiping voodoo priestess!
And so Rex ends up tortured from all angles by the behind-the-scenes antics of Rita’s various rituals, leading to the demonic possession of his new love and a climactic orgy turned into a head-ripping, dick-mangling bloodbath.
If there’s one particularly striking thing about The Disco Exorcist, it’s just how wonderfully the presentation matches up to the mid to late Seventies exploitation schlock that it intends to mimic. In terms of visuals, sound and performances, this is exactly the throwback that all of those faux-“Grindhouse” entries that have flooded the genre since the Tarantino/Rodriguez experiment strive so desperately to be. Whereas, however, the majority of those end up overly succumbing to an unintentional and reluctant tongue-in-cheek tone at odds with their intentions, Griffin deftly keeps The Disco Exorcist playing it straight for the most part while chucking in the occasional shovelful of purely organic humour. It works incredibly well, maintaining its own sense of twisted integrity throughout, and, by its very nature, will serve to immediately turn off anyone who isn’t a fan of ’70s excess and aesthetics. Lighting filters abound on a consistent basis, while print damage, grain and cigarette burns are all over the visuals.
Speaking of turn-ons and turn-offs, similarly in keeping with the sleaziest of the ’70s exploitation scene, The Disco Exorcist is quite literally bursting at the seams with nudity and sex. Barely ten minutes of runtime go by without sex, group sex or explicit nudity bathing the screen. This, in all honesty, is the film’s biggest problem. Excess is by no means an unwelcome thing in a genre throwback such as this, but the narrative finds itself caught up far too often in reveling in sex and nudity while the horror elements slink further and further into the background. By the time the gory orgy climax hits, the admittedly fun low-budget splatter effects just don’t quite manage to deliver enough sense of threat or urgency, leaving the final impression that you’ve just sat through a softcore porno with horror elements rather than a dedicated horror flick that also embraces the sexual liberation of the era.
Performances across the board are solid, with special note to leading man Michael Reed as the salt of the disco-earth Romanski and Brandon Luis Aponte as Rex’s best friend and DJ Manuel. In a rather strange turn, it’s interesting to see leading lady Nicklin, playing a porn star, being one of the (very) few female members of the cast who refuses to display any nudity – remaining clothed or strategically covered during multiple erotic scenes.
All in all, The Disco Exorcist is an authentically funky love letter to ’70s horror and sexploitation. It’s a shame that it gets so caught up in the latter, however, to its detriment. While it manages to maintain a playful approach that keeps it just on the right side of sleazy, it simply lacks sufficient focus on the horror elements. Griffin and Co. should be commended for their efforts in making something that really does feel like a ‘lost’ entry from the era – not to mention how entertaining it frequently is in a guilty pleasure sense – but the emphasis on sex overall will leave it far from a first choice of horror/comedy combo for many.
Monster Pictures’ UK DVD release of The Disco Exorcist does a swell job of backing up the intended low-fi presentation, with any and all print damage, softness or other issues feeling entirely part of the experience and thus bereft of more obviously digital problems such as artifacting or other compression issues.
On the special features side, it’s less impressive with only the green and red band trailers for the film itself, alongside a selection of trailers for the distributor’s other releases backing up a throwaway deleted scene and a less than involving filmmaker commentary whose few notable moments generally involve the verbal ogling of the naked cast.
• Green band trailer
• Red band trailer
• Deleted Scene
• Monster Pictures Trailer Showcase
3 out of 5
2 out of 5
Totem Review – It’s Not Always A Bad Thing To Look Up From The Bottom Level, If You Like That View
Starring Kerris Dorsey, James Tupper, Ahna O’Reilly
Directed by Marcel Sarmiento
Following the untimely death of a family’s matriarchal figure, a young woman finds out that managing to hold all of the pieces in place becomes increasingly more difficult when otherworldly infiltrators make their presence felt. We’re going to have to work our way up this Totem, as
17 year old Kellie is the leading lady of the home following the passing of her mother Lexy, and with a needy father and tiny tot of a baby sister, she still keeps things in working order, regardless of the rather large hole that’s been left in the dynamic due to the death. Kellie’s dad after a while decides to ask his lady-friend to move in with the family, so that everyone can move onto a more peaceful existence…yeah, because those types of instances always seem to work seamlessly. As fate would have it, Kellie’s sense of pride is now taking a beating with the new woman in the mix, and her little sister’s new “visitor” is even more disturbed by this intruder – only question is, exactly who is this supernatural pal of sorts? Is it the spirit of their dead mother standing by to keep watch over the family, or is it something that’s found its way to this group, and has much more evil intentions at hand?
What works here is the context of something innately malicious that has found its way into the home – there are only a couple moments that come off as unsettling, but the notion of having to weave through more than half the film acting as a sullen-teen drama is rather painful. The presentation of the “broken family” is one that’s been done to death, and with better results overall, and that’s not to say that the movie is a complete loss, it just takes far too much weeding through at times stale performances and even more stagnant pacing to get to a moderately decent late-stage conclusion to the film. Under the direction of Marcel Sarmiento (Deadgirl), I’d truly hoped for something a bit more along the lines of a disturbing project such as that one, but the only thing disturbing was the time I’d invested in checking this one out. My best advice is to tune into the Lifetime channel if you want a sulky teen-melodrama with a tinge of horror, or you could simply jump into this one and work your way up…but it’s a LONG way to the top.
Sulky, moody, and ridden with teen-angst buried in the middle of a supernatural mystery – SOUNDS like a decent premise, doesn’t it?
IAMX’s Alive in New Light Review – A Dark, Hypnotic, and Stunning Musical Endeavor
Recording eight albums is an achievement no matter the artist, group, or band. This is especially true for Chris Corner’s IAMX, his solo project after the trip hop group Sneaker Pimps, which has enchanted listeners since 2004’s Kiss + Swallow with its dark electronic aesthetic. There’s something fascinating about the music Corner puts out as IAMX. Perhaps it’s the underlying melancholy that seems to pervade the music, almost certainly a result of the musician’s battle with depression and chronic insomnia [Source]. Perhaps it’s the unexpected melodies that reveal themselves with each new measure. Whatever it is, IAMX’s music is a constant delight.
On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “…breaking free from demons that have long plagued him,” per an official press release. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track.
The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there.
While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. “Mile Deep Hollow” builds layer after layer while Corner passionately cries out, “So thank you/you need to know/that you dragged me out/of a mile deep hollow/and I love you/you brought me home/because you dragged me out/of a mile deep hollow.” The way the song’s melodies back these wonderfully uplifting lyrics feels grand and epic, as though a journey is coming to an end, which is where “The Power and the Glory” comes in. Far more subdued, it’s a beautiful song that feels almost like a religious experience, a hymn of a soul that is desperate to claw its way to salvation and escape a life of pain and darkness.
What makes Alive in New Light so wonderful is how much there is to experience. I got the album and listened to it no less than five times in a row without pause. I simply couldn’t turn it off because each return revealed something new in the music. Corner also makes fantastic use of Von D’s vocals, carefully placing them so as to make them a treat and not a commonplace certainty.
While some may be disappointed that there are only nine tracks, each of the songs is carefully and meticulously crafted to be as powerful and meaningful as possible. It really is a stunning accomplishment and I’m nothing short of blown away by how masterfully Alive in New Light plays out.
IAMX’s Alive in New Light is a triumph of music. Full of beauty and confidence, it doesn’t forget the foundation that fans have come to know and love for over a decade but instead embraces that comfortable darkness with open arms. Corner states that this album was a way to break free from his demons. It certainly feels like he’s made peace with them.
The Hatred Review – A History Lesson Dug Up From The Depths Of Hell
Starring Zelda Adams, Lulu Adams, John Law
Directed by John Law
I don’t know about the scholastic interests the masses had (or have) that read all of the killer nuggets that get cranked out on this site, but when I was an academic turd, one of my true passions was history, and it was one of the only subjects that managed to hold my interest, and when the opportunity arose to check out John Law’s ultra-nightmarish feature, The Hatred – I was ready to crack the books once again.
The setting is the Blackfoot Territory in the late 1800s, and the pains of a lengthy conflict have taken their toll on the remaining soldiers as food has become scarce, and the film picks up with soldiers on the march in the brutal cold and snow covered mountainside. In tow is a P.O.W. (Law), and the decision is made by the soldiers to execute him in earnest instead of having to shorten their rations by feeding him, so he is then hung (pretty harshly done), and left to rot as the uniformed men trudge along. A short time later the group encounters a small family on the fringes of the territory, and when the demands for food are rebuked, the slaughter is on and the only survivor is a young girl (Adams) who prays to an oblivious god that she can one day reap the seeds of revenge upon those who’ve murdered her family. We all know that there are usually two sides to any story, and when the good ear isn’t listening, the evil one turns its direction towards those who need it most, and that’s when the Devil obliges.
The answer to the young girl’s prayers comes in the resurrection of the prisoner that was hung a short time ago, and he has been dubbed “Vengeance” – together their goal will be achieved by harshly dishing out some retribution, and the way it’s presented is drawn-out, almost like you’re strapped into the front-row pew of a hellfire-cathedral and force-fed the sermon of an evil voice from the South side of the tracks. It’s vicious and beautiful all at once, Law’s direction gives this visually-striking presentation all the bells and whistles to please even the harshest of critics (hell, you’re reading the words of one right now). The performances, while a bit stoic in nature, still convey that overall perception of a wrong that demands to be righted, no matter how morally mishandled it might be. Overall, I can absolutely recommend The Hatred for not only those wanting a period-piece with ferocious-artistry, but for others who continue to pray with no response, and are curious to see what the other side can offer.
The Hatred is a visually-appealing look into the eyes of animus, and all of the beauty of returning the harm to those who have awarded it to others.
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