Hell of the Living Dead is a 1981 Italian zombie film, and as with many Italian zombie films, it is a rip-off of a handful of other successful movies of the time, namely, Dawn of the Dead. Sometimes completely boring, sometimes completely entertaining, this sloppily made film is more than fun and even more than ridiculous with its poor gore FX and incredibly painful and overly used stock footage.
Brought to us by Bruno Mattei, Hell of the Living Dead was co-written by frequent Mattei collaborator, Claudio Fragasso, who also did some of the second unit directing that, consisted of effects work to beef up the grue. If the name Claudio Fragasso sounds somewhat familiar, it's because he is the man responsible for bringing cinema one of its finest films ever constructed, Troll 2. That should tell you all you need to know…
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I didn't know Rumer Willis worked with hazardous materials?
(If you are not aware, Rumer Willis, daughter of Bruce and Demi, has a massive noggin. Like, Rocky Dennis makes fun of her massive)
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"You got something on your shoulder…here, let me get it for you!"
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"Who wants to hear some of my freestyle? Throw your guns in the air..."
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"Remember, whomever cums last, has to eat the cookie. All of it."
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"Wake up honey, it's 7:45, you're gonna be late for work…"
"I'm not going in today, babe…I'm feeling a little under the weather, and I'm DEAD tired!"
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"Your lack of breast milk really irks me, daddy…"
"Guess this will just have to do then."
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"You wouldn't by any chance happen to have a napkin on you? That damn buffalo wing sauce gets everywhere, doesn't it?!"
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Even the natives can't help but get swelled heads when they run into a naked white women with jungle bush. Just ask the guy with the diaper.
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"Hey, I could really go for some of that Oil of Olay you got over there…"
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The disturbing and corrupting effects that rap music has on decent white women.
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"Nope, I don't see your cat up here either."
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Looks like someone didn't get the memo.
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"Anyone seen the lifeguard around? Um, help?"
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I'm chewing in the rain, chewing in the rain…
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"Hey, let us in and we'll tell you all about Jesus…at least take a few of these pamphlets!"
Born in Gary, Indiana on March 5th 1938, Fred “The Hammer” Williamson has had a career that is more than important to cinema, especially when it comes to cult and midnight movies. Williamson got his start as a successful pro-football player and is a three time defensive pro-bowler who played for the Kansas City Chiefs in Super Bowl I.
He got the nickname, “The Hammer” while during practice, one of his coaches asked him to stop hammering on the other players. Always the ego, Williamson took that term and made it a nickname, using it in a boisterous way when talking smack on and off the field, often saying he will "Put the hammer on" his opponents. He even developed a karate-chop styled offensive move fittingly called, "The Hammer" which he used on other players.
After retiring from the NFL, and with his fall back college degree, Williamson did some architectural work, but being a guy nicknamed “The Hammer,” he decided that it just wasn’t for him. He went into acting and did some television work with small roles in things like the original Star Trek series and played the romantic lead opposite Dianann Carroll on the TV show “Julia.” His first staring film role was in 1970’s M*A*S*H, which jump started his illustrious career in film.
At an intimidating 6’3 and with black belts in Tae-Kwon-Do, Shotokan Karate, Kenpo, and charisma, Williamson had (and still has) what it takes to be an amazing action film screen presence. With his film work now spanning forty years and counting, Fred Williamson has made a major impact on some of cinema’s most entertaining of genres. His work in Blaxploitation movies makes him probably the most recognizable male star of the genre outside of Richard Roundtree, and Jim Brown.
To add to his midnight cinema cred, Williamson appeared in numerous Italian film productions and between those, and his Blaxploitation movies, he has worked with many cult fan favorites. His work with the great Larry Cohen, resulted in one of my favorites of the genre, 1973’s Black Caesar (along with that films follow up, 1973’s Hell Up in Harlem). Some of the Italian directors of note are Antonio Margheriti with Take a Hard Ride, which also sported an impressive cast that consisted of Jim Brown, Jim Kelly, and Lee Van Cleef! Yowza! Williamson did a handful of Post Apocalyptic movies with Enzo G. Castellari, but the most prominent film the pair worked on is certainly 1978’s The Inglorious Bastards. The Hammer even worked with Lucio Fulci on the less than stellar, The New Gladiators (1984).
All of this is just the tip of the iceberg in a film career that runs deep, a career that he has taken and made all his own, his way. Williamson formed his own production company in 1974 called Po’ Boy Productions, and with what he learned from working with people like Cohen and making films in Italy, he has created nearly forty movies on very meager budgets over the years. Writer, director, producer, actor, stuntman, NFL player, and sex symbol, what can’t this man do?
What may have set “The Hammer” apart from the rest of the pack, is his ability to self promote and the way he carries himself in such an incredibly cocky and flamboyant fashion. These are the qualities that make him so awesome and he is not afraid to tell you about himself…he is completely upfront and even with such an ego, he carries himself with a genuine kindness. This is a man that has posed in playgirl, was a spokesman for King Cobra (a malt liquor that I used to drink in my high school days...shit got me cocked!), and was even nominated for an Emmy for the television series, Police Story. Hell, he even stole the show with his bit part as a flashback suffering ‘Nam vet in 1996’s From Dusk Till Dawn, which maybe where most horror fans were first introduced to him.
Being in the “biz” for as long as he has, Williamson has seen a lot and retained a great amount of memories. Besides being super entertaining, his interviews are always insightful, filled with stories from behind the scenes of the movies he worked on as well as the directors and other actors he worked with. With his trademark cigar, Williamson is one of a kind, and as cocky as he is, he wears it on his sleeve and is really just an honest guy that loves to talk about movies…and himself, of course. He is a true cinema badass and a legend in his spare time.
“'There's only two things that I demand of my scripts, and they're the same things my audiences demand. First, I have to get the girl. And second, I have to win all the fights. We don't need suspense. With those two ingredients, the picture is assured of being a hit.” - Fred “The Hammer” Williamson -
1979’s Zombie Holocaust is a film that I have a bit of history with and one that brings back some nostalgic memories for me. Sometimes known as Zombie 3, but better known by myself for its U.S. release under the title Doctor Butcher M.D. - M.D. being short for MEDICAL DEVIANT, of course. It is a movie I had seen way back in 8th grade (yikes!), when a good friend and fellow horror fiend had told me about the film and all of its gory glory. This same friend had two VCRs (which back in 90-91 was rare and badass) and would tape every horror movie he rented from the almighty video store, including one Doctor Butcher M.D. So I saw it many many years ago and my memories of it were more that it was a big gory deal for my buddy and myself, but besides that, I couldn’t tell you much more about it.
Flash-forward to about a year ago when I was scoping out the used DVD scene at FYE, when I stumbled upon a cheap copy of Zombie Holocaust. Not knowing anything about its connection to Doctor Butcher beforehand, I was very delighted to read that it was the original Italian version of the film from my youth and one that I had not thought I would probably never see again. Plus, it was like $5 bucks, so that made it all the greater.
Like I said, my found memories are not so much of the movie itself (cause I barely remember it), but of the time in my life that it reminded me of. So I had no expectations in watching Zombie Holocaust outside of some cheap gore and poor dubbing. It is a clear cash in on the zombie craze as well as the popularity of cannibal films at the time and it takes a lot from Fulci’s classic Zombie (or Zombie 2) with some of the same locations, and even some footage from Zombie is used in Zombie Holocaust.
Directed by Marino Girolami and written by Fabrizio De Angelis and Romano Scandariato, Zombie Holocaust even has a story very similar to Zombie in that it starts of in “big city” New York and eventually ends up placing the characters on an expedition in a foreign land filled with many dangers. In New York, a doctor named Lori (Alexandra Delli Colli) discovers a cult of flesh eating, organ stealing foreigners. When the cannibals are caught in the act, they go crazy and proceed to take their own life. The only clue left behind is a symbol painted on the flesh eaters body, a symbol that kind of looks like a set of butt checks to be completely honest with you.
Lori meets up with another Doctor, Peter Chandler (played by Ian McCulloch who also appeared in Zombie), who organizes a mission to find out exactly what is happening with the organ stealing, which is apparently an epidemic that has been happening in more than just New York. Joined by a reporter named Susan (Sherry Buchanan) and Peters assistant, George (Peter O'Neal) the four head out on an expedition to the primitive island of Keto, which is where the butt check symbol stems from. This island inhabits many dangers, with one being the cannibalistic natives and the other being the zombies that are a result of the work done by the mad Dr. Obrero (Donald O'Brien), better known (to me) as, Dr. Butcher…MEDICAL DEVIANT! MWAHAHAHAHAHA! *Cough-cough*
Overall, the movie is poorly made, even for a cheap Exploitation rip-off of genres and films that were being done by better directors like Umbero Lenzi with his cannibal films and of course Fulci with Zombie. Zombie Holocaust is watchable and not the worst filmed movie ever, but in general, it’s near incompetent. There are dubbing issues, but that almost comes with the territory in any film of this type, so no need to harp on it. Even if the dubbing was good, however, it wouldn’t help with dialogue that is just poor to the point of humor at times.
Our characters are standard and very typical - and trying to make anyone believe that the ever so beautiful Alexandra Delli Colli character of Lori is more than eye candy, is as mad as DOCTOR BUTCHER! She has degrees in medicine and even has one in anthropology, which is just kind of funny since at no time does any sense of brilliance leave her lips…though, her clothes more than once leave them hips - and thankfully too.
Even though it isn’t a well-made movie, Zombie Holocaust is not a terrible film by any stretch – it’s not great, just more of a middle of the road one. The biggest issue that can arise with a movie of this nature (besides craftsmanship) is pacing and it’s surprisingly a well-paced movie with very little downtime. It movies along quickly and there is something always going on to keep the viewer entertained in one way or another. I mean, the movie has cannibals, zombies, nudity, and gore, so there is no excuse not to have something interesting to see every ten to fifteen minutes and the goods are delivered.
As far as the gruesome stuff goes, Zombie Holocaust lives up to its rep and my memories as the gore count is very high and most of the FX are executed and “fuck yeah!” inducing. There is a great booby trap scene when a character gets one of those beds of sharpened sticks sprung up onto his body, trapping him while the natives proceed to slit his throat and go to town on his tasty flesh. Then there’s an eye gouging of epic proportions that put quite the smile on my face. The cannibals provide most of the good stuff, not the zombies – in fact, the zombies are strangely not very prevalent in a movie that is titled Zombie Holocaust.
Though they aren’t in the film much, their impact on me is something worth mentioning. I do love that the zombie’s make grunting and moaning noises along the lines of something you would hear from a fourteen-year-old boys bedroom while reading one of his dad’s Hustlers. Even better, they look like old dog crap – like when it gets all brittle and white…they are very ashy zombies to say the least and Oil of Olay would make for a great Christmas present for these undead creatures if you ever decide to visit Keto (Kaelin?).
I actually really enjoyed the ending of this movie and some of the best stuff is with Dr. Obrero and his MEDICAL DEVIANCY! as he performs his mad brain surgery on the poor reporter, Susan. Pretty mean-spirited stuff and this scene was actually shot pretty well in a great ramshackle sort of cabin setting that was also a setting used in…you guessed it, Zombie! Even during these moments, Zombie Holocaust finds a way to once again steal from another film with some of the things that happen to Lori, being very reminiscent of things that happen to Ursula Andress character in the Sergio Martino film, The Mountain of the Cannibal God.
Messy and imperfect, Zombie Holocaust completely steals so many things from so many movies (that stole from so many others!) and has very few original qualities about it. However, this “thievery” makes for a fun mishmash of so many different types of Italian Exploitation films that it is hard not to enjoy for how much shit is thrown into the blender. Not every sip tastes great, but overall, I enjoyed my Zombie Holocaust smoothie and can recommend it to any one that is a fan of these genres.
Set in Utah during the Great Blizzard of 1899, the small town of Snow Hill has gone through some tough financial times, forcing some of the less than privileged citizens to rob and steal just so they can eat and stay alive. With no other choice for survival, these unfortunate citizens have become considered outlaws by the town and with prices on their heads, they are targets for bounty hunters (or bounty killers as they're called) who now infest the area. The leader of these bounty hunters, a madman named Loco (Klaus Kinski), kills a man in cold blood that has a bounty on his head, resulting in the victims wife, Pauline (Vonetta McGee) hiring a gunslinger named Silence (Jean-Louis Trintignant) to seek revenge and kill Loco.
Silence is not the biggest fan of these powerful money hungry bounty hunters and he makes it his hobby to shorten their life span when he can. When Silence was a young boy, he watched as his mother and father were killed by bounty hunters, who thought it a good idea to slit the young boys throat to keep him from saying anything, ever again, thus the name, Silence. To keep within the law, Silence doesn't just go up and buck shots into dudes, he goats them into shooting first, so it is considered self defense and completely legal when this quick on the draw, outlaw kills his victims.
1968's The Great Silence (Il grande silenzio, or The Big Silence) is a Spaghetti Western with all the right moves in so many ways. It has a grand and gorgeous setting, an amazing Ennio Morricone score, and stars some of the best actors of the genre. While this film and the performances are slightly hindered by bad dubbing, there is a nice and to be expected, squirmy, Luigi Pistilli as Pollicutt, who is Show Hill's Justice of the Peace and the one paying for the bounties on the outlaws heads. I also really enjoyed Frank Wolff, who plays the Sheriff of Snow Hill. He starts off almost bumbling, but he quickly makes the transformation into a very self assured and honorable man of the law, who only wants things to be fair for everyone. However, he isn't liberal when it come to holding the bounty hunters accountable to the laws of the town, no matter if they are a threat to him or not. While there are two stars of The Great Silence and despite the title of the film, Jean-Louis Trintignant and his character, Silence is not one of them. I liked the character of Silence and J.L.T. does a competent enough job in this role, but he is nothing spectacular either (Nero would've been much better). He has the right look for the emotionless gunslinger, but he just seems to lack that certain charisma needed to be great. I don't claim he is not one of the stars because he doesn't have the magnetism of other Spaghetti Western leads, it is because he is not really meant to be the main focus of this film.
The real focus and star of The Great Silence is without a doubt, Klaus fucking Kinski and the character of Loco. This film is a true showcase for the talents and lunacy that is Klaus Kinski and he is as good as ever in this film. He steals every scene playing a character that is as mean as it gets, but is also kind of a wise guy that can easily keep his cool in most any situation. I have seen a decent amount of Kinski films and his portrayal of Loco may be the best I have ever seen of him on screen. Except for Crawlspace of course!
Director Sergio Corbucci treads territory that is not the norm of the genre. As with his best known film, 1966's Django, which was set in a town completely engulfed by mud, The Great Silence is entirely set in the snow. There are very few Westerns, Italian or American that have been set in these conditions and the only ones that come to mind are Pale Rider and Unforgiven, both of which are not entirely snow bound. Though, both are pretty damned fantastic and directed by Clint Eastwood, who apparently was rumored to direct a remake of The Great Silence, so the inspiration is fitting.
So when I said there were two stars of The Great Silence, if Kinski is one, then the other is the snowy backdrop of this truly frigid film. I've said before how much I love winter/snow set movies and this may be one of the best uses of the purdy powder. Mixed with the amazing Silvano Ippoliti cinematography, the presence of epic winter is engulfing to the senses and as I watched, I couldn't help but feel like I too, was as cold as these outlaws. It also gives the characters a reason to wear very nontraditional western garb, where these dudes really need to gear up for the blistering elements. How often do you see a gunslinger wear a fur coat? I'd like to see someone splash fake blood on Loco in protest.
I have seen more than my fair share of Westerns and I am a pretty big fan of Django and consider it an upper echelon film of the Italian Western genre, but it is not quite up there with the Leone films. The Great Silence, on the other hand, is certainly on par with the master filmmakers movies and may be one of the best Westerns, Italian, or whatever, that I have ever seen. It has some flaws with an muddled plot and while Corbucci can be an amazing director, he doesn't seem to mind having little flubs of imperfection in his movies. Even then, The Great Silence is a masterpiece of the genre and of cinema period. I didn't even go near talking about the crazy ending of this film, but that is a major spoiler that needs to be seen by you when you watch this movie. It is a must see.
Lamberto Bava's Blastfighter is a film I half expected to be a Sci Fi movie based off the title Blastfighter, but this 1984 Lamberto Bava film is as far from a Science Fiction film as you can possibly get. It shouldn't be much of a surprise that the movie would come off as a film of that genre as it was originally planned to be a Sci Fi action flick, but budgets and the usual jazz kept all of that from happening.
The main character in Blastfighter is Jake "Tiger" Sharp (Michael Sopkiw), an ex-cop who was convicted and served 7 years in prison for killing the man that murdered his wife. Jake is a complex man, filled with all the attributes to contend for the heart of any woman, or any man for that matter.
He is a man that is not only strong...
...he is a deep thinker with a golden mane like a lion (or a tiger I suppose)
He can be deer friend...
...while having the ability to show his sensitive side without fear of the trees judging him
But if you cross him, he will fuck your sweaty ass up. Period.
Blastfighter is set entirely in the woods...yet a good portion of the music sounds like something you would hear at a generic lazer (I'll be spelling laser with a Z for added edge) light show…meaning, it's awesome. There is some other great music in Blastfighter and it comes in the form of the pretty country song, Evening Starby Tommie Baby (I could only find the Bee Gees version...mah bad.). Nothing quite says kick ass Italian action movie like a little good ol' country music!
These woods are the perfect setting for "Jake" to chill out at since all he really wants in life is to be left alone. Only issue is the local yahoos seem to enjoy giving Jake a hard time because he doesn't agree with their inhumane hunting tactics. All of these jerk-off hicks that are messing around with Jake, just so happen to work for an old friend from Jake's past...
That man is non other than, George Eastman, who plays a character named...Tom?
Seriously...Tom? Not Brawny, or Bull Mastiff, or even Battle Axe? A man of this stature deserves a tougher name, that's for sure.
With a beard that could make love all by itself, "Tom" is not just any mere mortal...he is a man that can rock an impressive yellow and black flannel and still look intimidating.
This is a guy that need not require simplistic transportation like cars or bicycles, he is a man that can only roll one way and that is in a helicopter. A helicopter that is orange, yellow, and brown. Those are great colors for the Fall, by the way and they do go very well with his lumberjack attire, showing his keen Caldor fashion sensibilities.
Jake unwillingly makes acquaintance with Connie (Valerie Blake), who we quickly learn is more than just some bangin' broad, but someone important that has come from Jake's past. Together, Jake and Connie have a few run-ins with the dirtball country bumpkins and what results is a game of survival for the two characters, that would eventually takes a deadly turn.
Jake is forced to go back to a past he never wanted to again...he must become Jake "Tiger" Sharp if he wants to protect Connie and himself. One thing I didn't mention about Blastfighter is the weapon that would be the titular draw of the film, but it is only briefly introduced in the opening of the film and doesn't show up again until 1 hour and 16 minutes into the movie!
But when this wicked weapon is finally unleashed, oh boy is it time to bring the pain! Fed up with being pushed around, "Tiger" is ready to show these hillbilly hoes what he is capable of with his Blastfighter gun! Now, this is a badass gun, it shoots bullets, grenades, smoke bombs, shit, I think it may even fire a Peter North load this thing is so versatile and manly. Don't believe me?
Check out these results...
Can't get that damage out of any old gun, now can you?
Hope you brought some marshmallows...bitch.
In the end, Blastfighter is a Rambo ripoff, but a good one and even though there is no use of the sick firearm that Jake is given at the beginning of the film, there is plenty of action to hold you over until the inevitable explosive finally. Plus, you can't go wrong with an airborne Eastman in flannel and Sopkiw with his gorgeous wavy hair and intense mustache.
...he is a deep thinker with a golden mane like a lion (or a tiger I suppose)
But if you cross him, he will fuck your sweaty ass up. Period.
That man is non other than, George Eastman, who plays a character named...Tom?
