Tagged German Film

More Disturbing Halloween Horror: Blood, Guts, Skulls and Stuff

With a list for the disturbed, one for zombies/living dead/infected, a 31-day map of horror and even a list for Halloween-ers who aren’t horror fans, I’ve come to one with a special disturbing dedication: blood and gore and uncomfortable pains!
While the other disturbing list is a bunch of general unsettling movies, this one is based mainly around effects and the visual nastiness. Now, these aren’t meant to be the BLOODIEST, or the wildest gore imaginable, nothing like that. The movies on this list are some of the ones with the effects I enjoy most, the nastiest depictions of violence, and so on, which I’ve found throughout the 4,100 films I’ve seen in the past 30 years.
Hopefully you hardcore horror fans will enjoy some of these and you’ve probably seen a few, if not all. Either way, let me know what you think and if there are any others you enjoy that ought to be shared.


Anthropophagus (1980)/ Absurd (1981)
ANTHROPOPHAGUS-font-b-Movie-b-font-Poster-1980-Horror-font-b-Gore-b-font-Print-Silk
A perfect double feature if you want a big helping of senseless violence, relentless terror and creepy atmosphere. These two landed on the Video Nasty list during 1983; they were also prosecuted successfully.
Joe D’Amato’s Anthropophagus sees a group of friends on a Greek island terrorized by a tall cannibalistic man of mysterious origin. No more explanation needed because there’s honestly nothing much else to say. It’s the way D’Amato shows everything, his style, which really makes this something to see. Truly nasty bit of work. Goes well together with a want for blood, guts, and flesh wounds of all shapes and sizes.
Absurd1Moving on to 1981, D’Amato comes back with a spiritual sequel to his earlier Anthropophagus from 1980 – Absurd is the story of a priest chasing down a monster whose blood coagulates incredibly fast, rendering it near impossible to kill, and its killing is unstoppable.
This isn’t near as good as Anthropophagus, still it is some more savagery from D’Amato whose nastiness knows no bounds at times.
A ton of head action here: no, not a blowjob, I’m talking heads being drilled, heads being sawed, et cetera. If you’re in need of a bit of rough violence, this is certainly the ticket. However, as I said, D’Amato doesn’t come back near as good with this film as he did with the previous.
These two films make an interesting, nasty double feature. Don’t say I didn’t warn you – not plot heavy, but definitely thick with murder!

Blood Feast (1963)/ Two Thousand Maniacs! (1964)
BloodFeast
The second double feature (out of 4) on this list, it’s another one with both titles from the same director. This time, it’s the Godfather of Gore, Mr. Herschell Gordon Lewis.
The entree: 1963’s Blood Feast.
While this is by no means a great film, it’s definitely ambitious in terms of the blood and gore. With Blood Feast – the story of a killer slaying women in order to get blood to appease an Egyptian goddess – Lewis began introducing the world to his vibrant brand of gore horror. Right from the very beginning of the film, its first sequence comes off totally awesome and bizarre; a proper portion of H.G. Lewis signature style gory makeup effects. So pretty much immediately you’ll know whether or not you’re in for his type of filmmaking. I dig it and think it’s nasty as hell. This is one ridiculously fun and equally rotten bit of gore horror.
two-thousand-maniacs-movie-poster-1964-1020491581
After Lewis shocked with the previous little blood & guts flick, he came back swinging with a much better film the next year: Two Thousand Maniacs!
This one is the story six people who find themselves trapped in a town, deep down amongst the Southern U.S. and one by one they’re killed, as part of a celebration/their revenge for the town being destroyed in the Civil War.
Talk about bloody! The poster does not lie. Early on in the days of splatter horror movies, H.G. was rocking it hard. Furthermore, there’s a real dreamy quality to Lewis’ filmmaking and I feel that’s a part of appreciating what he does; sure, it’s kind of cheap, yes it is also tame compared to things today. But is it really tame? I don’t think so. Either way, there’s a certain atmosphere Lewis creates which not a lot of people take into account. Sort of an avant-garde-trash mixture. Bless him. This is a wonderfully fun and bloody piece of work.
These two Hershell Gordon Lewis movies work so well together, though, the second is much better. This gives me my fill of organs and bleeding cuts and slashed throats and more. A perfect Halloween splatterfest!

Eraserhead (1977)
ERASERHEAD - UK PosterMy full review is here.

One of my three favourite Davids – another one comes later (and the third is my dad) – Lynch dropped his first feature film onto the midnight circuit in 1977 with the existentially horrifying and viscerally churning Eraserhead.
The story… ah, if you don’t already know what this movie is, there’s no real point trying to explain it. Maybe best put: the story of a man living in an unbearable industrial landscape, whose girlfriend gets pregnant and then they both must deal with it after coming out a tiny monster. Oh, and don’t forget the woman who lives in the radiator.
A whole mind trip of a film, this Lynch masterpiece has tons of the existential dread happening, from start to finish. But the visuals – holy fuck, the visuals! There are moments even some hardcore horror hounds find nauseating, simply because of the way Lynch shows us his imagery. I won’t ruin anything for those who’ve not seen it. Needless to say, you may never look at a turkey or chicken again in the same way once you’re ready to carve it up.
Fun note: Lynch still says to this day no one has ever really pinpointed what the film is about, for him.

Dans Ma Peau a.k.a In My Skin (2002)
d6This French film is the story of a woman who experiences a bad injury while at a party, then becomes increasingly obsessed with self harm – serious cutting.
A lot of people might find themselves flinching throughout large portions of this one. Honestly, it’s a tough piece of cinema. The amount of nasty cutting and self-violence here is extraordinary. Perhaps what makes the blood and makeup effects here so devastatingly effective is the fact we get inside the headspace of the main character – also the director and writer, talented woman – and come to actually care about her, maybe some of us will identify with her. So this takes it to another level. Go into this expecting you may turn it off due to discomfort.

Hostel (2005)/ Hostel: Part II (2007)
hostelFor my full review of 2005’s Hostelclick here

For my full review of the sequel – click here

Another double bill, again each from the same director. This one would actually make a great quartet feature with H.G. Lewis, come to think of it.

Say what you want about Eli Roth, he’s effective. Can you honestly say the special makeup effects in Hostel aren’t well executed? If so, you’re kidding yourself. You might not like how Roth plays out his film, you may not even like the content. There’s just simply no fucking way you’re convincing me the blood and gore here isn’t properly nasty.
Hostel came out and turned up the label “torture porn” (get what it implies but hate the term). The whole thing, to me, is a sleazy masterpiece of bloody horror. Its first half plays like a roadtrip comedy with the three dudes, cut with bits and pieces of murder. Once the second half begins, Roth takes us on a gory ride. That eyeball effect? Come on… don’t let whatever your opinion of Roth/the movie overall may be cloud your judgement: this is some hardcore brutality. There are plenty more bits to “enjoy” when it comes to all the bloody goodness, the eyeball is my favourite.
Hostel-Part-II-New-Poster-horror-movies-42168_1296_1920I wasn’t expecting a good follow-up, honestly. Regardless of that, though, Hostel: Part II is one hell of a sequel from Roth. Of course the end turns out to be a nice little feminist twist, but most of the film sees a trio of women in peril, as opposed to the three dudes from the first. The savagery is just as prevalent here. Love the homage to Erzebet Bathory with the bloodletting bath scene. Also, I’m always a big fan of piece of shit men getting their dicks cut off. So there’s that.
Both of these films are incredibly horrific, in their own ways while still being similar. Even better than that, I find the sequel Roth came up with did well with creating an entire universe with the story, going deeper into the global club of psychopaths who round up victims for murder tourists to have a go at. On top of all the bleeding and the screams and the terror, there’s also a cherry of a decent plot, too.

Island of Death (1976)
91Y5dcJMyVL._SL1500_
Back to another of the infamous Video Nasties. And I’m not putting this on the list all due to it being on there, either. Only awhile ago did I actually get the chance to see this, but christ… what a doozy.
In 1976, director Nico Mastorakis put out Island of Death after seeing how well Tobe Hooper did with his indie shocker The Texas Chain Saw Massacre only two years before. Except without much of an intent, as I feel Hooper had with his own film, Mastorakis only wanted to bring the awe with a sadistic and perverse plot based around a British couple – who say they’re recently married yet are actually later revealed to be a brother-sister incest duo – wreaking absolute havoc on people while visiting a Greek island. Strangely enough, for two inbreeding siblings, they kill people who they deem sinful.
You’ll find yourself, most certainly, struggling to get through this because it’s not particularly good, in regards to plot or story. Neither is it overly well-acted. It’s the brutish violence and boundless depravity which will take you in. The blood flows and the gory scenes will make you understand easily how this ended up on the Video Nasty list.

Masters of Horror: “Imprint” (dir. Takashi Miike) (2006)
imprintMy vote for most disturbing segment ever made for television – Takashi Miike’s Imprint from the horror anthology series Masters of Horror.
Miike has turned up on another list I did for Halloween this year (for his 1999 horror-thriller Audition). He comes back here again with a vengeance.
Without giving away too much, an American traveler who once visited Japan for a time goes back for another trip. When he looks to find the geisha with which he connected so emotionally on his first visit, she is nowhere to be found, and he soon begins to unravel the devastating mystery surrounding her disappearance.
Think it sounds okay? One of the most disturbing movies I’ve ever seen, and it was a television episode; though, it wasn’t allowed to air if I’m not mistaken. I bought the two seasons of this show and found myself blown away by this one in particular. Lots of nastiness from one of the true masters, Takashi Miike.

Videodrome (1983)
videodromeFor my full review, click here.

A personal favourite of mine, David Cronenberg’s Videodrome is similar, in a few respects, to what he was doing in eXistenZ later down the road. However, they’re definitely different, vastly so, as this 1983 classic goes much harder and more metaphorically at the body horror sub-genre.
Sleazy TV producer Max Renn (James Woods) searches for the ultimate in raw, real content for his channel. In his search, Max comes across an ultra-real show named “Videodrome”, featuring what seems to be actual snuff and torture, et cetera. Slowly drawn in, his quasi-girlfriend Nick Brand (Deborah Harry) goes to audition for the show, having an interest in masochism particularly. What happens next takes Max to the brink of reality and sanity at once.
Cronenberg is one of the genius filmmakers of cinema, even better that he’s Canadian (as I am one; he’s a national treasure). He’s very much an auteur, I would say he’s pretty much the king of body horror. Even further than that, I’d definitely say Cronenberg is at least ONE of the godfathers of the sub-genre. Lately he’s moved a little bit away, which is fine. You just cannot deny his power. Some of the effects here, provided by maestro artist Rick Baker, are simply unforgettable – the fleshy VHS tape, the mutilated/deformed bodies, and so on. Plus, on top of all the body horror, as is his style, Cronenberg also gets into how we relate to media, whether movies or television, what have you. Very interesting movie and also harrowing in terms of its body horror imagery.

Haute Tension (a.k.a High Tension a.k.a Switchblade Romance) (2003)
high_tensionFor my full review, click here.

Alexandre Aja is a favourite of mine, in terms of modern horror filmmakers who have emerged over the past 15 years. He’s vicious, funny, he’s displayed – in some of his films – that practical special makeup effects still have a place in post-2000 horror, it isn’t all about CGI. Most of all, I think he wears the biggest and best of his influences on his sleeve.
The story of Marie and Alexia, two college friends – they head for a vacation back to Alexia’s parents home in the country, deep in the cornfields. On their first night, a killer comes knocking at the door. Systematically he murders the family, except for Alexia – all the while, Marie is hiding upstairs in a room at the top of the house. Marie manages to slip into the killer’s creepy truck before he whisks Alexia off. This begins an intensely vicious night of cat-and-mouse maneuvering, swimming in blood.
I never once saw where this horror movie was going the first time I saw it. Then when you watch it over and over again, which I’ve done (because I fucking love it), it’s interesting to watch knowing where it will go and still find yourself enthralled. There are some of the most perfect special makeup effects in High Tension. It has such a great 1970s/1980s horror sensibility, one of the biggest reasons why I can’t get enough of this Aja masterpiece. Some will tell you the twist is something you’ll see coming. I don’t believe that; people who say those things, some of them anyways, are usually just naysayers unable to point out anything particularly bad about a movie they don’t like (for whatever reason). You’ll be blown away, or in love depending on how sick you are like myself, by all the blood and gore from start to finish. Plus, the performances are incredible, even the near mute killer. This one is a definite shocker you need on the Halloween movie marathon list. If you don’t dig subtitles, get over it or miss out on a fantastic piece of modern horror-gore cinema.

Macabre (1980)/ Demons (1985)
macabre_posterMoving on to our next – and fittingly final – double bill: back to back Lamberto Bava madness!
To start, the 1980 horror (amazingly it is loosely based on a true story) Macabre. This one is insanely fun in the sickest horror sense. A woman is reeling from the death of her extramarital lover; they were in a car accident and he was decapitated. After a 12-month stay in an institution, she gets out and heads back to the apartment where she and her lover would meet to make love and be together. Soon, her landlord begins to suspect there’s still something going on between the woman and her lover.
So that description alone should intrigue you + the poster art there! To tell you the truth, the poster itself I’ve got there is a bit telling. But still, not like my description wasn’t either. If you want some nasty horror dealing with dead bodies and psychosexual tension, this will make any Halloween properly disturbing with a nice spate of – you guessed it – macabre imagery.demons_1_poster_01After Macabre‘s more subtle story, believe it or not, is the 1985 cult classic Demons. For those who don’t know, Lamberto Bava is the son of revered Italian horror/giallo director Mario Bava (see: A Bay of Blood & more). So while his father was an absolute powerhouse overall in cinema, not someone I would banish to simply being a great genre director but a true artist, Lamberto doesn’t quite rise to that height. That being said, he is still an amazing horror director. Demons is an all-out barn burner: a bunch of people are trapped in a theatre, home to demonic entities, and they proceed to kill/possess everyone possible inside. Honestly, there’s nothing else to say about the plot – it is what it is, and that’s all right. This is one wild piece of horror, similar to a zombie film yet these are demons; the more they possess people, the greater their numbers. Not only that, the special makeup effects in this one are gnarly and awesome as hell. You have to put this one on if you’re watching Lamberto Bava, it’s a wild ride, and a nice contrast piece to Macabre, a very different sort of horror. These two movies together will really get your blood flowing. Turn Halloween into a night of terror with this double feature full of depravity and utter chaos.

Offspring (2009)
offspring_xlg It’s strange because so many people seem to have seen Lucky McKee’s The Woman from 2011, yet inexplicably ignore its predecessor – the 2009 indie Offspring.
Based on a novel by Jack Ketchum, and subsequently his screenplay for the film, this is a tale of the remaining cannibals from an old clan who move in on a nearby town and begin to wreak havoc on its people.
There are some intense bits here, especially with the inclusion of the feral children in the clan; one scene immediately comes to mind when a woman walks into her kitchen, only to find blood and body parts and kids nibbling on the tasty little bits they’re holding. This is one really macabre story and its execution I find pretty damn good; not perfect, but good enough. Not sure why this one has a super low rating on IMDB, perhaps some might find it cliched or overdone, I don’t know really. The mind of Jack Ketchum comes out pretty nicely, to my mind. He is a unique and terrifying writer.
Either way, I do know this has enough satisfyingly disturbing bits of gore and morbidity in it you might spend a few minutes before bedtime making sure no cannibals are hiding out in the kitchen.

Angst (1983)
ANGSTCULTEPICSNEWSFor a full review and examination of this shocker, click here.

Loosely based on the real murderer Werner Kniesek, Angst is the tale of a madman released from prison, after which he brutalizes and murders a family in their small home.
Truly, to me, this 1983 cult horror film out of Austria is actually an examination of institutionalization crossed with an already violent psychopath, almost the meeting of two immovable forces crashing against one another. Right from the first scene, we know how madly gone the psychotic (Erwin Leder; best known from Das Boot) has become in his time through the prison system.
And that’s part of why Angst is so powerfully disturbing – aside from the messy, bloody bits, the entirety of the film has us knocking around in the head of this man. We’re never given any of what’s going on outside of him, anything from a different perspective, but rather this depraved killer is our guide, our sherpa into the heart of utter darkness.
If your Halloween season hasn’t been viscerally disturbing enough, get ahold of Angst. It’s becoming better known over the past few years, particularly with the Blu ray release, however, it’s still not widely recognized enough in my opinion. There are easily drawn comparisons between John McNaughton’s Henry: Portrait of a Serial Killer. Though, trust me: this movie is far different, it gets deeper into the brain matter of its killer and really tries to strip things down to push us into the main character’s uncomfortable headspace.

Salò, or the 120 Days of Sodom (1975)
MV5BMTQyMDQ4NTY2Nl5BMl5BanBnXkFtZTcwMjk2NDQ3MQ@@._V1_UY1200_CR110,0,630,1200_AL_This 1975 Pier Paolo Pasolini-directed shockfest is one you’ll undoubtedly see turn up on most of the disturbing horror lists out there. Anybody in their right mind will find this completely raw and hateful nasty, no doubt about that. The most hardcore horror fans readily admit this is one insane piece of cinema.
While I do think there’s a major part of this movie speaking to fascism, et cetera, the majority of what you’ll find incessantly horrifying here is the imagery. And it’s not subtle, not even for a hot second.
Think – have you ever thought to yourself “I’d love to see a movie where people commit sodomy, eat human faeces, then throw in some violent torture/murder and a suicide to boot”? If so, this one is for you!
Okay, I don’t make this one sound in the slightest appealing. Because it’s not and I’m not trying to fool you here. This is a list of disturbing horror to do solely with imagery, effects, and so on. You won’t find a more visceral piece of cinema ever, maybe. Many argue this has no purpose, but under all its nasty and in-your-face nausea, Pasolini had something to say with Salò and after all these years – four decades later – people are still debating it, still fighting it, the controversy surrounding the film and Pasolini himself continues to burn in the public heart of film lovers. So can you say, either way, love it or hate it, that Pasolini’s movie is not effective? You’re kidding yourself if the answer is no.
Putting this one on could ruin October for you; the entire month. But if you’re adventurous, and a little messed up, pop this in and rock out to the Pasolini mindfuck machine.


Thanks for reading another of my Halloween lists this year. Once more, as always, I’m hoping you’ll find at least one flick to put on during October. Especially the closer it gets to the 31st. This list will induce shock and awe, I know it does for me. These are all pretty wild movies, to me. If you have any other suggestions for blood, guts, skulls and assorted nasty stuff, please drop a comment and let me know in what sort of madness you’ll be indulging over the next couple weeks.

NOTHING BAD CAN HAPPEN’s Religious Parable

Nothing Bad Can Happen. 2014. Directed & Written by Katrin Gebbe.
Starring Julius Feldmeier, Sascha Alexander Gersak, and Annika Kuhl. Celluloid Dreams.
Not Rated. 110 minutes.
Drama/Thriller

★★★★1/2

tore_tanzt_ver3_xlg

While I usually try not to go too deep into personal theories of a movie, if it appears to me as metaphorical, Nothing Bad Can Happen feels very much to me like a film meant to be taken as metaphor, and with that, I feel like this review will mostly focus on my subjective interpretation.

The film follows a young man named Tore (Julius Feldmeier) in Hamburg who attempts to build a new life in a religious group, The Jesus Freaks. After having a seizure during a rock band’s performance, a man named Benno (Sascha Alexander Gersak) helps him out, and brings him to safety at his home. There, he begins a relationship with Benno and his family. Eventually Tore even moves into a small guest area at Benno’s home. However, things soon become darker, more sinister for Tore than he could have ever anticipated. A battle of wits begin, as Benno begins to mentally and physically torture Tore. Though the young man clings to his faith, Benno becomes more sadistic as time goes by, ultimately inflicting some of worst punishment possible on Tore.
Toretanzt_JuliusFeldmeier_SwantjeKohlhof_TORE_SANNYThis is apparently based on a news article director/writer Katrin Gebbe read. While I have not searched out the article in question, I still believe Gebbe uses the, at times brutal, story as a way to discuss religion. In particular, she looks at how those who are constantly, and consistently, abused over and over by their religious institutions still keep their faith – often going so far as to excuse the abuse. Furthermore, the actions of Benno as the movie progresses make you realize he was initially trolling for weaker prey when first meeting Tore – once he saw the younger man seizure, he knew this was his victim. Also, you can obviously realize after some time Benno is not Christian any sense whatsoever – much how I feel about those who abuse their power to rape and abuse those without it using their religious position to conceal their actions (those people do not truly believe in anything – religion or otherwise).
23_Toretanzt_0026652_ASTRID-AnnikaKuhl_TORE_JuliusFeldmeier_BENNO_SaschaGersakThis method Benno uses is exactly how the abusers, using religion as their cover, choose which person to subject to their torturous desires. Much like the rapists using the Roman Catholic Church to cover up their heinous sexual assaults on countless, seemingly never ending boys and girls. And still, the abuse reigns on as people continue to bow at the altar of these corrupt churches. Without ruining the ending, there is very little optimism in the finale of Nothing Bad Can Happen – there is a half and half, bittersweet sort of finish. One side speaks to us so that we can learn from all these abuses, and hopefully some who face this abuse also can get away eventually. On the other side, we see how faith can get someone through terrible, horrifying trauma, and yet at the same time could really destroy one’s self altogether. As much as Gebbe based this on supposed true events, I really do believe this is meant to be a metaphor of the larger-scale abuse going on throughout many religions – not simply the Catholics, as I mentioned (I was personally brought up Roman Catholic due to my mom and I living with my grandparents for the first 8 years of my life & when finally given the chance by my mother and father a few years later I gave up church for the rest of my life). Every religion has, and is capable of, abuses, and this almost says to me alone that religion is not as wonderful and miraculous as those who practice their individual religions regularly would have you believe. Nothing Bad Can Happen explores all these things, and more, through a very dramatic film while also incorporating real savage moments of psychological horror.
14_Toretanzt_IMG_9721_TORE_JuliusFeldmeierThe absolute best part of the film is its central performance. Julius Feldmeier plays Tore brilliantly. The whole film is quite subdued and what I call “quiet” – there isn’t any action, it’s all based around the drama of the script.  In these “quiet” films (I’m not generalizing – just stating for the purpose of this review), I find actors often get to really get into the scenes more, in terms of character. Sure, action stars can really get into their own characters, but in films like Nothing Bad Can Happen where the plot does involve or incorporate any big set pieces, special effects, or other things et cetera et cetera, actors have nothing else except for the dramatics of their character and the scenes to focus on. All of the subject matter here is very heavy, and Feldmeier gives a great performance as a young man who is determined to find his way through life, and everything that comes with it, through his belief in Jesus Christ. As somebody who does not take part in organized religion, an actor has to do some serious work for me to empathize with a character who is almost blinded by his faith. Regardless, Feldmeier does such a good job as Tore it was impossible not to feel for his character. With every degrading act Benno unleashes on Torre, both the determination and pain coming through in Feldmeier’s performance tightened the tension of the film, as well extended my empathy tenfold for the character. Really great stuff. I believe this is the first feature film Feldmeier has been a part of, and I do hope to see him again soon after this one.
303541.jpg-r_640_600-b_1_D6D6D6-f_jpg-q_x-xxyxxNothing Bad Can Happen didn’t reach Canada until 2014. Because of this, it is absolutely one of the best films I had the pleasure of seeing this past year. I’ve included it on Fathersonholygore’s Best of 2014 List. There’s something about this film which captivates me, and I believe most of that is due to the fact Katrin Gebbe gives us a dose of reality while also spinning the story into a much larger fabric representing the universal abuse of the weak, and possibly gullible, followers by their own religious institutions.
NOTHING-BAD-CAN-HAPPEN-excluisve-620x400The film itself is a real great work of drama with thriller elements, and a healthy dose of horror, to my mind anyways. This is absolutely a 4.5 out of 5 stars for me. I can’t wait to get a copy on Blu ray because there are no doubt bits and pieces I missed when I first had the privilege of seeing the film. Highly recommended. Keep an open mind – an inquisitive, free mind – and think about the bigger implications of Nothing Bad Can Happen. A real powerful work from Katrin Gebbe – someone who I again hope to see more from in the near future.

Bela Kiss: Prologue – Because Literary Terms Be Damned

Bela Kiss: Prologue. 2013. Directed & Written by Lucien Förstner.
Starring Kristina Klebe, Rudolf Martin, Fabian Stumm, Ben Bela Böhm, Janina Elkin, Angus McGruther, Julia Horvath, and Jörg Koslowsky. 4Digital Media.
Rated R. 106 minutes.
Horror/Mystery/Thriller

1/2★

bela-kiss-prologue-401380lThere are movies which sometimes fool me, for one reason or another, into thinking they’ll turn out to be something much more than they really are – Bela Kiss: Prologue is one such film. Not that I expected greatness whatsoever, but the beginning wasn’t bad. The inclusion of serial killer Bela Kiss intrigued me. Also, the first fifteen minutes or so were decent enough I started believing this might not be too bad. To my chagrin, I slowly came to realize this movie was headed downhill.

The plot of the film is sort of foolish from the start. We get bits and pieces of the Bela Kiss story (I won’t go into this much – you can check it out online & get a much better description of his crimes than I will give you) & then nearly a century later you’ve got a bunch of robbers headed to a remote forest hotel. When they arrive it’s assumed the place will be their safe haven from any law enforcement or authorities, but their safety vanishes once people start to die.
I suppose the whole idea is that Bela Kiss may still be roaming around. There are all sorts of newspaper clippings, yadda yadda, laying around about Kiss; the bodies in the gasoline drums, pictures, et cetera. I mean, it’s just nonsense. Basically there’s no real explanation other than “blood gives you eternal life”, but somehow Bela Kiss hasn’t died – he’s almost 140 and still killing people. Or at least he’s having people killed so he can use their blood. I don’t even really know. It’s an awful, awful screenplay.

They sort of take Kiss’ story and mix in the, short, belief that he was some sort of vampire (due to puncture marks around the neck & the bodies being drained of blood). Instead of coming out with something interesting, it just seems really boring. Bela Kiss as a serial killer alone is terrifying enough. They could’ve given us a version of his story instead of making it into a very confused update, or whatever it happens to be.
This brings me to another point – the title. Basically states it’s the prologue of a story. Whose story? Certainly not Bela’s story because if it were a prologue to that then we’d most likely have a look at his childhood. Or do the filmmakers understand the meaning of ‘prologue’? Not to be rude. I just really don’t get why the word is in the title. I could maybe get with it if they called it Bela Kiss: Epilogue because this is most certainly the end/continuation of Kiss’ story. I try to never really get hung up on a film’s title, especially horror, but this is just laziness. It’s like they were trying to figure out some cool title, they really wanted to the serial killer’s name in there, and all they could think of was the word prologue. I can’t get over it. Sloppy. Unless someone can give me an explanation for it that makes any sense. Otherwise this is one of the rare cases where a movie’s title really pisses me off for having no significance whatsoever.
bela-kiss-prologue_filmstill_web_010Most of this was a real heaping pile of nonsense, however, there were a couple scenes I really liked for the camerawork. Two of these particular moments both involve bodies being dragged. One is early on when the group of robbers end up blowing away a man in the forest on their way to the hotel; the gore is pretty good here, and also the camera view as the body is dragged away looks neat. Same sort of camerawork happens again later once one of the poor victims in the hotel is being hauled away for who knows what sort of torture – the disorienting feeling the camera angle puts us in really works. Not that there is a whole lot of incredible visual flair throughout the entire film. Though, there are a few instances I really enjoyed like these two moments.
bela-kiss-prologue_filmstill_web_001Some of the slasher-type bits of Bela Kiss: Prologue worked well enough. There are one or two scenes which really put this in the slasher genre. Although it is a bad movie and I wouldn’t compare it to any good slashers already out there. Regardless, we get a few nasty throat slashings, stabbings, and other violence. Enough to satisfy the blood quota. That being said, there’s nothing at all new.The villain runs around with a knife senselessly, casually slitting open jugular veins and thrusting blade after blade into victim after victim.
bela-kiss-prologue_filmstill_web_011The finale of the film is fairly blood drenched and gory at parts. Yet I’ve seen much crazier violence. They try to go for this big finish, but it really left me cold. Part of the reason why is because I cared about one of these people. They were awful, petty so-called robbers, who all look like they were cast from out of magazine ads; the characters were weak and ridiculously stereotypical of the worst slasher movies. Then there’s the terrible attempt to throw in a final scene where “The Master” shows up, with his hokey blood red pupils, chomping on a cigar, and telling the woman who runs the hotel their plan has only just begun; he cackles, I cringe. Like a rotten cherry thrown on top of a curdled ice cream sundae. Even worse, the last scene is just atrocious! The dialogue was breathtakingly bad, and the whole way things caped off was just really horribly done. Sloppy from start to finish.
bela-kiss-prologue_filmstill_web_014I can’t give this movie 0 stars because there were honestly a couple moments I enjoyed, which I discussed earlier. Plus they had enough blood in a couple scenes that I was able to at least enjoy the deaths of the useless characters in the movie. I’ll only give this a .5 out of 5 stars. Most of this is really cringeworthy. I find Bela Kiss interesting because I’m interested in the psychology of serial killers; I’ve read books from people like Elliott Leyton to Christopher Berry Dee, the subject is just fascinating. However, the filmmakers really took a creepy story that could’ve provided the basis for a pretty neat period piece (I know this isn’t exactly a massive budget film – I’m just saying this idea is better served in other ways than a mixed-up modern slasher), and turned it into something forgettable. It certainly did not do the film any favours the acting was subpar. I couldn’t wait for this whole ordeal to be over.
If you have any interest in Bela Kiss, go watch some documentaries on A&E or somewhere else. This has nothing to do with Kiss other than they hijack his story to come up with a load of nonsense. Avoid this. If you’re looking for serial killer stories being adapted into fictional horror, stick with Ed Gein’s tale told through movies like Psycho and Silence of the Lambs, or even the classic Texas Chain Saw Massacre. Because Bela Kiss: Prologue is not worth the hour and forty-six minutes you’ll waste trying to struggle through the running time without fast forwarding past huge chunks.