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Stars: Malisa Longo, Oliver Mathot, Patrizia Gori, Pamela Stanford, Claudine Beccarie, Erik Muller, Rudy Lenoir, Jean Le Boulbar, René Gaillard, Thierry Dufour| Written by Victor Hardia, Marius Lesoeur, Patrice Rhomm | Directed by Patrice Rhomm

As much as I adore exploitation cinema, I have to say that Nazisploitation is one of the least enjoyable branches in this crusty, inbred cinematic family tree. There are only a handful of titles I enjoy from the genre and yes, I think Ilsa, She Wolf of the SS is probably one of the most overrated pieces of exploitation cinema ever. I just find the genre to be lazy, repetitive and wide of the mark. Will Patrice Rhomm’s French offering – Elsa Fraulein SS – be one of the few exceptions? Unfortunately not.

So, the story is simple. Things aren’t going too well for the Third Reich. They’re getting a battering from Allied Forces causing...

Apr 28, 2017

Lucio Fulci, Frankenhooker and more in our round up of new horror Blu-rays and DVDs...

So, what’s your personal idea of hell? For this writer, it would almost certainly involve being chained down in the audience of an eternal live filming of Loose Women as Donald Trump waves a slice of tiger bread, forever just out of reach. Yours is likely to be similar, though it would have to be pretty grim indeed to come anywhere near Lucio Fulci’s 1981 career-best infernal vision and perhaps the definitive (obviously other than Little Nicky) cinematic depiction of eternal damnation, The Beyond.

See related Better Call Saul season 3 episode 3 review: Sunk Costs Better Call Saul season 3 episode 2 review: Witness Better Call Saul season 3 episode 1 review: Mabel

The Italian gore icon behind such genre classics as Zombie Flesh Eaters and The House By The Cemetery offers ostensibly a zombie film set in...

Stars: Patrizia Gori, Malisa Longo, Richard Allan, Dominique Aveline, Alban Ceray, Jacques Marbeuf, Jean Cherlian, Claude Janna, Olivier Mathot, Carmelo Petix | Written by H.L. Rostaine | Directed by Patrice Rohmm

Initially in charge of propaganda within an oppressive South African government, Helga (Malisa Longo) is demoted to being in charge of looking after a group of recently captured rebel female prisoners. She rules Chateau Stilberg with an iron fist whilst having an insatiable appetite for both prisoners and soldiers alike. Unfortunately for her, not all the prisoners want to play along and this naturally frustrates Helga on a regular basis. One of the prisoners under her watchful eye is the spunky and feisty Elisabeth Vogel (Patrizia Gori), daughter of a leftist lawyer who is seemingly the government’s biggest enemy and prime target. When Helga discovers this, she naturally intends to use young Elisabeth as bait, but eventually starts to fall for her.

It turns out the on-air resignation by CNN anchor Lou Dobbs was part of a more sweeping change, including a shift away from online anchor-driven news. The rolling news broadcaster, part of the Time-Warner empire, announced yesterday that it had dispensed with the services of Reggie Aqui, Nicole Lapin, Naamua Delaney, and Melissa Long, plus an unspecified number of production staff. Perhaps CNN head honcho Jon Klein inadvertently gave us all a heads-up on this last month--in which case, how do you explain this?

Anyway, enough of the picking of nits. Let's go back to a CNN without Lou or rolling, anchor-based web news: which one are we going to miss the most? The channel is down to fourth in the news channel ratings--that's last, pop pickers--and Klein has obviously realized that things need to change.

The truth is that, these days, people get up-to-date news from their computers rather...

Proving yet again that Lucio Fulci didn’t make movies like anybody else, his Cat In The Brain (a.k.a. Nightmare Concert, coming in a two-dvd set March 31 from Grindhouse) is a difficult movie to nail down into a single genre. With almost equal parts psychological horror, faux self-documentary awareness and enough stock footage from the director’s previous films to almost make this movie feel like a clip reel, it is both a self-reflexive statement on the illusion machine known as cinema and an intellectual fart unleashed in a crowded elevator.

From the opening scene of a literal cat tearing its way through Fulci’s fevered brain to the final shot of the maestro sailing away with a young beauty on a yacht christened the Perversion, this film is a head-scratcher. So while this would be a terrible place for a Fulci neophyte to begin exploring, for those...