Profoundly Erotic: Sexy Movies that Changed History [Paperback]

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It’s the last book from Joe Bob Briggs, and for his final outing in the publishing world, he follows up “Profoundly Disturbing” with the equally excellent “Profoundly Erotic.” The final book reviews a series of erotic movies, all of which aren’t exactly pornographic or erotica per se. They’re instead very adult films that deal with sexual politics and the undertones of sexual repression. As usual Joe Bob Briggs is as insightful and informative as ever, and it was ultimately a breezy read to finish.

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The Prowler (1981)

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You can really see Tom Savini’s fingerprints all over “The Prowler,” as it elicits a lot of gruesome deaths for such a downbeat slasher movie. Much of the effects also echo a lot of the gore we saw in “Dawn of the Dead” including the exploding head moments. That said, “The Prowler” is a surprisingly strong slasher effort that doesn’t hold a lot of doors open for sequels, but manages to be a surprisingly decent and vicious whodunit with a creative and merciless serial killer unleashed on a vacation resort.

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Ravenous (1999) [Blu-Ray]

I’m one of the many fools that didn’t give “Ravenous” a chance when it premiered in 1999. In fact I openly avoided it for many years, convinced it was just a splatter film and nothing more. True, while it is a classic cannibal movie and survival film, “Ravenous” is so much more. It’s a layered and very unique satire on America’s consumption of the world, and how that becomes very much a practice for one general who is convinced that consuming his fellow man will give him power to conquer the world and also select who is fit to survive in his world.

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Cabin Fever 3: Patient Zero (2014)

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Like the former films in the series, “Cabin Fever 3” doesn’t really offer audiences anything but a ton of gore, and vain attempts at gross out humor. Pile on a helping of misogyny, and you have the recipe for yet another piece of trash in the Eli Roth bred gore series. You can sense the producers really stretching this time around for shocks and splatter that can stun viewers, all the while spending a lot of empty filler on characters we really don’t bother to care about, since they’re there just to rot in a gory bloody pool, anyway. Director Andrews presents a better flair for directing than previous director Eli Roth, so that’s a plus, however minor.

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All Cheerleaders Die (2013)

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Directors Lucky McKee and Chris Siverston backtrack over their 2001 indie horror film “All Cheerleaders Die” and remakes it in to a classic rape revenge horror film where hormonal jocks get their comeuppance. Director McKee and Siverston seem to have a lot of fun with the premise, channeling the likes of “Jawbreaker,” and “Satan’s Cheerleaders” in what is one of the more creative revenge horror films I’ve seen in a while. Maddy is an aspiring journalist who begins following around her friend Alexis during her tryouts for the cheerleading team. As well she learns about Alexis’ views on politics in high school not to mention the twisted social dynamic involved with dating and being a cheerleader.

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Sleepaway Camp II: Unhappy Campers (1988)

Our favorite transphobic slasher is back with a follow-up to the original shocker, and as suspected, “Unhappy Campers” fails to live up to the gasps that followed the original film’s surprise ending. There really are no other surprises we can derive from this premise anymore, so “Unhappy Campers” is a slasher comedy with such flimsy production quality, it’s actually very charming. How can you not enjoy Angela’s gallery of maimed corpses, most of whom can be seen breathing or struggling to keep still on close up shots? It’s a gas.

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Deep in the Darkness (2014)

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Plot holes, plot holes, and more plot holes! It’s just another title from the ever growing library of horror groaners from Chiller Films. Colin Theys’ “Deep in the Darkness” is an amalgam of “The Wicker Man,” “The Descent,” and a bit of “Rosemary’s Baby” for good measure. “Deep in the Darkness” is yet another horror movie that promises it’s building up to something, and then sputters out like a deflated balloon, forcing the audience to realize they’ve spent ninety minutes watching nothing. Nothing at all. What in the name of all that is sane did that final scene even mean?

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