Violent Night (2022) is a must see classic.

The high-concept pitch for this is “Santa rescues a rich family from the clutches of armed criminals from the cut-and-weld version of Die Hard & Die Hard 2”. And if the recipient’s instant reaction wasn’t “KA-CHING£$!” they need to be fired. David Harbour is Santa McClane, and that covers half the bill by itself.
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Santa’s Slay (2005)

Once again the nights are drawing in, the country is a death trap because it snowed for one day of snow, and Trash or Treasure is doing its annual Christmas Onslaught of seasonally themed exploitation movies. The first present out of the chimney is a 2005 “what if Santa was a psycho?” comedic effort from director and writer David Steiman, which stars Goldberg from back when he had just quit the WWE. It’s also got a sleigh drawn by a pissed-off buffalo, which has the cutest little nose.
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Final Exam (1981) is a bad film with some genuinly amazing ideas.

In context, this still makes no sense


This can easily be dismissed as yet another slasher that turned up on the coattails of Halloween and Friday The 13th, as part of The Golden Age Of Slashers. And it has all the hallmarks of such a film; it’s cheap, follows the tropes, and has a lot of so-so acting and directing. However, for all it’s many failings, writer and director Jimmy Huston needs to be applauded for making a film that really tried to do something different with the genre in several interesting ways.
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Miss Nobody (2010)

Working in an office is hell, so they make great places to center black comedies around. Most people can relate to them, so you’d don’t need to explain the premise, and most people know co-workers whom they would chuckle at the misfortune of, so if you rack up a varied body count the script is off to a good start. What can I say? Familiarity builds contempt and a lot of people are bastards.
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Dust Devil (1992)


There is a lot in common between my blog and the filmography of Richard Stanley. They’re both essentially uncommercial works, they are based on a love of cinema and belief in the scope of what movies can be, and they both rely on introspection interspersed with brutal violence. But whilst I do quick reads about other people’s work for free, he convinces people to give him millions of dollars to make two-hour gothic epics set in random deserts. Also; he once got driven crazy by Val Kilmer, but that’s a whole other story.
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Dark Disciple (2016)


Allan Caggiano, who by his own admission has no formal training, set out with a four-person production crew to make a movie and for that I applaud him. He also said that “reviews (even the harsh ones) are greatly appreciated” so on the off change he gets to read this I hope he doesn’t think I’m being unfair with what’s about to be said. Making any kind of film is a soul-breaking task, and at the very least he brought into the world something that a group of us spent a pleasant hour and a half watching.
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I Am Toxic (2021) is a film you need to see NOW


Does it count as World Cinema if a film is from Argentina, is a post-apocalyptic zombiefest and you have to read the subtitles? No clue; but as soon as I found out it existed I knew I had to watch Soy Tóxico, as that combination is something you don’t come across often. And I am so glad I did! Continue reading

The Haunted House Of Horror (1969)


I wasn’t sure how to write this review, but after I did a bit of reading I found out that the producers had no idea about how to make this film. Half of it is an interesting proto-slasher, directed by Michael Haworth and stating a giggle of up-and-coming stars of British Cinema (and Frankie Avalon on his way down). The other half is an interesting drama, using the backdrop of swinging London and mostly the same cast. Sadly, you can see the welds. Continue reading

The Day The Earth Stood Still (1951)

Because “Why not?”, and as it makes picking viewing easier, Trash Or Treasure is going through every movie in “Science Fiction – Double Feature”, the opening song for that trash culture classic The Rocky Horror Picture Show.

This week 

Michael Rennie was ill, the day The Earth stood still. But he told us where we stand

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Faster, Pussycat! Kill! Kill! (1965)


I’m not sure what I was expecting when I finally got around to watching this “must see classic” of trash/psychotronic culture. Obviously, having read about it in a thousand cult movie guides, I was expecting the constant presence of sex and violence that is Tura Satana and the satirical sleaze of Russ Meyer’s oeuvre, of which this film delivers in spades. But I wasn’t prepared for what else was lurking under the tight top of this juggernaut of a cinematic experience. Continue reading