I think deep down Sawa Suicide just assumed that horror fans alike would universally embrace “Suicide Girls Must Die” for the simple fact that it’s a horror movie with a lot of hot girls from the actual website. Granted, I am a huge fan of the Suicide Girls (seriously, these women are insanely beautiful) but just because something is even slightly popular, it doesn’t mean it warrants a movie. And you can hide all of the flaws and cheese behind the fact that it’s a horror film, but even so. The fact that anyone assumed this would be even the least bit entertaining is beyond me and displays a bit of hubris in the notion that the Suicide Girls attachment would mean rave reviews.
Tag Archives: Slasher
Black Christmas (1974)
We never did find out who Billy was, did we? Was he a disgruntled ex-boyfriend? A humiliated crush? Or perhaps just a lunatic who drifted into the sorority house one night before Christmas? It’s always more frightening to be left with questions, isn’t it? Why do killers always have to have a motive or connection to the characters? Do real murderers always make sense? From the first frame director Bob Clark leads us through a labyrinth of absolute red herrings advising us to pay attention, notice the clues, and really focus in on where he’s going with “Black Christmas.” For years I heard many people trying to figure out who Billy is and what his intent was toward this group of young women in their sorority house one Christmas. How is able to get in and out without notice? How is he able to sneak back and forth in this house without being seen?
Bikini Bloodbath Christmas (2009)
“Gina Davis… like the wind… never forgets.”
2010 was a really rough year for yours truly so imagine my happiness when I learned that director Thomas Edward Seymour and Jon Gorman were ending the worst Christmas of my life with a Bikini Bloodbath. Finishing off their trilogy of trashy slashers, “Bikini Bloodbath Christmas” takes all of the good things about Christmas, destroys it, and instead trades it for a lot of booze, sexy women, bikinis, and a really evil chef Death who likes to kill people with a claw hammer… and stuff. Why is he killing people still? Who knows? But there are big boobs, sexy women and Debbie Rochon returns yet again.
It's Sally's World: We're Just Living In It – Interview with April Monique Burril
Their names are JimmyO Burril and April Monique Burril, two of the most hardcore horror fans on the web, and they happen to be the June and Ward Cleaver of the underground horror syndicate. These two madly in love folks have joined together for their label Forbidden Pictures to bring horror fans “Chainsaw Sally,” a horror sitcom that began as a web series, made the trek to DVD, and is now being backed by Troma Pictures who have turned the character in to one of their own legions of anti-heroes joining the ranks of Toxie, and Kabuki Cop.
JimmyO Burril is the critically acclaimed indie director whose own relationship with his wife April Monique and their friend film legend Debbie Rochon have granted him major notice from horror buffs across the world while wife April Monique Burril is the insanely sexy (read: dear god, what a stunner!) and sultry Chainsaw Sally, the maniacal chainsaw wielding star of JimmyO’s series. In front of the camera they bring us a world featuring a demented family woman who doesn’t mind offing people if it gets them out of her hair, behind the camera, they’re just a humble and kind married couple with a big family and a demented sense of humor you can’t help but be endeared by.
After being sent their DVD’s to review for the site we were instantly enamored by the gruesome twosome and had to have a chat with the horror vixen and her madman of a husband. In the midst of speedy and hectic production for “Chainsaw Sally: Season Two” along with rabid publicity for the new season which will feature even more cameos from other horror icons, director JimmyO and muse April Monique took the time out for an interview to promote their latest foray in to the horror world and what we can expect from Sally Diamon and her crew.
Hatchet II (2010)
Unnecessary back story, toilet humor, and overlong gags involving gore, yes, this is a sequel to “Hatchet” alright! While “Hatchet” was a serviceable genre installment that consumed time with a smile and didn’t change the genre as many movie critics promised it would, “Hatchet II” is here regardless, and rather than simply follow the formula it purports to adhere to with a throwback to goofy slashers of the eighties, in actuality it spends more time setting up the story in the first twenty minutes than it does get down to the nitty gritty of the sub-genre. Green takes the time out to explain the origin of Victor Crowley yet again for audiences after setting the sequel immediately after the events of the first film where Marybeth escapes the clutches of Crowley and manages to get away with the help of an eccentric fisherman.
The Hills Run Red (2008)
If you’re willing to ignore the obligatory self-aware jabs at slasher films in the first half hour that derails the story for a good portion of the prologue, “The Hills Run Red” is actually quite an entertaining slasher film, and one that dabbles in that classic formula of teens wanting to uncover a legend and meeting pure evil and chaos face to face. If you keep knocking on the devil’s door, eventually he’s going to answer, and two aspiring filmmakers learn that lesson when they team up to find the mythical grindhouse flick “The Hills Run Red” a controversial gory film in the vein of Ruggero Deodato’s classic that mysteriously went missing along with its director and co-stars.
Mandy Lane: Pretty Poison
Women are trouble. They always have been and they always will be. To the lovelorn man with a taste for old fashioned romance, women are their poison, the source of inspiration, bliss, torment, and their downfall. “Double Indemnity,” “King Kong,” “Cleopatra,” “MacBeth,” the list goes on, but the one true defining theme in all of fiction is that women can make or break the man, and Jonathan Levine’s “All the Boys Love Mandy Lane” is the truest depiction of the power of the beautiful woman and what they can do in a world that idolizes, idealizes, and fetishizes women. Levine’s film is something of a slow boil horror thriller, one that is based around love for a blond beauty named Mandy Lane, and how she inspires a stalker, male admirers, female admirers, and a slasher lurking in the shadows. This is all set to the tune of the real monster. Her name is Mandy Lane and in the final scenes of Levine’s cult classic, we learn that even the dirtiest of monsters can have an angelic face that few men can resist.