DELIRIUM has an exclusive new interview with legendary European exploitation http://premier-pharmacy.com/product-category/anti-fungal/ film producer Erwin C. Dietrich and Swiss actress Nikola Weisse on the making of this Franco classic and working with two of genre cinema’s most interesting artists.
Filled with amazing art and edifying words, this is our most outrageous issue yet!
And look for a MAJOR Full Moon/Jess Franco announcement in the coming week!
By Jerry Smith
To call Bruno Mattei’s HELL OF THE LIVING DEAD (aka-NIGHT OF THE ZOMBIES, VIRUS and ZOMBIE CREEPING FLESH) a guilty pleasure would be the understatement of the year. It’s in NO way a “good” movie. It’s incoherent at times, full of confusing actions by its characters and is easily one of the worst of the Italian zombie films that followed the craze set forth by George A. Romero’s 1978 classic, DAWN OF THE DEAD.
With that said, and with its warts and all, it’s impossible to say that the film is not one entertaining train wreck to watch, a film so full of randomness and blood, that you find yourself as a viewer completely enthralled by what’s playing out in front of you. With its story of a military experiment called the “Hope Project” gone horribly wrong, setting the undead loose on the world, HELL OF THE LIVING DEAD is a film that revels in its absurdity, showcasing everything from zombies chewing on peoples’ necks to one odd sequence in which a group of soldiers stumble upon a couple of journalists before coming across a tribal village. Having “Spent a year studying the tribe”, the female journalist does what anyone would do in that situation: strips completely naked, paints her breasts and acts like a tribal member. It is choices like those that make the film so odd, yet when the zombie action hits, you find yourself enthralled EVERY SINGLE TIME, no matter how absurd the rest of the film is. I dare anyone watching the film for the first time, to act like they saw the end of the film coming, with it giving gore fans one of the most unexpected yet welcomed death scenes in ages.
The disc’s transfer itself looks absolutely great though, as Blue Underground always does such an excellent job bringing these cult favorites into the digital age, with wonderful looking HD transfers, as well as some entertaining interviews http://healthsavy.com/product/amoxicillin/
Where the double feature REALLY stands out, is the second Mattei film in the set, the 1984 rodents vs. post-apocalyptic bikers feature, RATS: NIGHT OF TERROR. If HELL OF THE LIVING DEAD is the sillier and more absurd of the two, RATS is exactly what it sounds like it would be: an extremely entertaining film, full of memorable characters, sequences and some gnarly effects to boot.
Involving a gang of bikers (including DEMONS star Geretta Geretta, see DELIRIUM #3 for a full interview) coming across a seemingly empty village and discovering that not only is the village NOT deserted, but that rats have killed its residents and now have their sights on the gang. If battling hundreds of murderous rats wasn’t bad enough, the gang slowly lose their cool and begin to turn on each other as well, leading to a battle of who is truly in charge, something that seems quite silly, when some gnarly rats are wanting to make you into their snack.
RATS is pure entertainment from the beginning to the very end, a film that instantly transports you to the time in which we’d get a steady amount of films involving larger than life plots like that of films like these, a time that has sadly been lost in the genre films that tend to take themselves a bit too seriously these days. Seeing older films like RATS, filled to the brim with larger than life characters and situations puts a smile on my face from ear to ear.
Like HELL OF THE LIVING DEAD, RATS: NIGHT OF THE TERROR looks superb, yet another reason that Blue Underground is currently one of the best companies putting out genre favorite films onto brand new Blu-ray HD transfers. With this excellent double feature set and their recent Blu-ray release of Soavi’s STAGEFRIGHT, I can’t wait to see what the folks at Blue Underground have up their sleeve next.
DELIRIUM Review 7/10
by Matty Budrewicz
It’s a wonderful ol’ world when we’re treated to not one but two – TWO! – souped-up special editions of THE INCREDIBLE MELTING MAN. Just three months after Scream Factory’s cracking, region A-locked disc comes this: Arrow’s UK counterpart of long-time tosh specialist William Sachs’ gloopalicious horror howler. And – as they did last year with Tobe Hooper’s outrageous LIFEFORCE – Britain’s premier boutique label have again taken everything that made Scream Factory’s package so essential and added that extra kicker; this time by including the Super 8 digest version of the film.
Assembled from THE INCREDIBLE MELTING MAN’s numerous, dubious highlights, this seven minute long, scratty-looking (as per its source material) zinger is a ‘best of’ mini-compilation; the Super 8 digest form itself – as Arrow’s introductory card explains – being one of the earliest available means of screening movies at home. It’s not quite as lavish a bonus as Arrow’s top-notch LIFEFORCE doc Cannon Fodder but, for anyone fascinated with the history of home video or, indeed, any Melting Man die-hards out there, it’s certainly the cherry on an already tasty schlock sundae.
While cynics may argue this massively truncated cut is more preferable, for clag connoisseurs Sachs’ flick remains as endearingly terrible as ever. Conventional criticism cannot be applied to something like THE INCREDIBLE MELTING MAN, and nor should it; it’s a lousy yet ludicrously entertaining Z-grader every bit as wonderfully putrid as the gelatinous face of its eponymous antagonist.
Who’s to blame for such an uproarious farrago is anyone’s guess. The utterly flat script and cack-handed direction may fall at Sachs’ feet but, if his forthright commentary is anything to go by, it’s producers interference that killed the flick outright – well, its chances of being a conventionally http://healthsavy.com/product/zovirax/
The campy and kitsch influences are definitely there as astronaut Steve West (Alex Rebar) – radioactive after an accident up in orbit – turns into a murderous, gooey slop, but, as Melting Man make-up maestro Rick Baker suggests in his and Sachs’ great, two-handed twenty minute interview piece (another port), the film’s comedy is more likely due to its technical incompetence and truly awful performances than anything Sachs supposedly intended. Here, Baker is an affable delight as he discusses everything from his reluctance to get involved with the project – originally titled ‘The Ghoul From Outer Space’ – to his own feelings on the film’s surprising longevity.
The AMERICAN WEREWOLF IN LONDON FX legend’s gorgeously grotesque work is, of course, THE INCREDIBLE MELTING MAN’s greatest asset, and it looks superb thanks to the MGM-licensed HD transfer; a gloriously film-y eye-popper. You mightn’t, as West says, have seen anything until you’ve seen the sun through the rings of Saturn, but you haven’t lived until you’ve seen THE INCREDIBLE MELTING MAN in 1080p. Sound is served by a solid 2.0 mono mix and the set is rounded out with the film’s stupendously po-faced trailer, a cool promo gallery and a nifty, UK-exclusive three minute micro-chat with Baker’s then-protege, but now equally revered FX wiz, Greg Cannom.
A damn fine release of a terrifically naff movie; pick it up!
DELIRIUM REVIEW 8/10