There aren't really any cannibals in Cannibal Holocaust II. It's been a few days since I've seen it so it's starting to feel like a fever dream, but I distinctly remember no on screen cannibalism.
If you're turned off by gore, you're given about three seconds to leave before shit hits the fan. If that's your thing, you've got about 80 minutes of spraying blood and crushed skulls ahead of you.
Brigitte Lahaie is a tough as nails cop who has to take down a gang of snuff and bestiality producing pornographers after they kidnap a girl. Cue gun fights and lots of running. So obviously with all that in mind, this is fucking amazing, right? Uh... well...
It's hard to say whether Fulci at any point sat in the director's chair during the production of this. My guess is no. Though Fulci was not at the top of his game in 1990, his flourishes could still be seen in even his cheapest work. None are apparent here.
Lee made so many movies. Needless to say, not everything Lee featured in is great, but he was always great in them. Hidden within the mountains of his cinematic oddities, there's several gems. This is just one of them...
I spent much of Der Samurai's running time terrified that it would betray its ambiguous approach and elegant style. But it never does. It remains true to itself start to finish. Der Samurai is exactly what independent film exists for.
Like most Franco efforts, Mansion of the Living Dead is fucking insane. There is no mansion in the film. And the living dead feel like an afterthought. Grimy bush munching and scenes of sadism take priority over the horror.
While it can be a little dull at times and the sex scenes without Lahaie are nothing special (some are downright awful), Bordel SS has to be commended for its surprising ambition and its vicious ending. Not many porn flicks end with death by electrocution and gun-in-mouth suicide.
Conquest, for all its flaws, is actually kind of a good film. It's entertaining and certainly never boring. For Fulci fans I'd say that this movie is surprisingly essential if only to see the man's unique style in an unexpected setting.
Half Past Midnight is like a raw and simplified Carrie. There's no telekinesis or tampon throwing. There's no hyper-Christian mother. There's just Debbie, a chainsaw, and an overbearing music score.
It's a pretty rare event that Mondo Exploito will review something new. It's just not what we do. But sometimes something comes along that fits the mould.