Many Nikkatsu Roman Porno films tend to integrate sub-genres within their basic frame works of being soft core pornography. While their movies inject frames like crime thrillers, dramas, and romance comedies, every one of these installments garner some long and drawn out sex scene involving petting or molestation. The same can be said for Impulse Pictures’ “Nurse Diary: Beast Afternoon” which is from the Roman Porno library but is deep down a pinku version of a giallo film. Folks that are typically turned off by Nikkatsu films just may find this in their interest.
In case you missed it, here’s what has happened so far in “The Peepshow Collection” movie series: The first nineteen volumes were filled with a lot of adult porn performers having sex, and engaging in general sexual acts. The next volumes will likely have those events unfold, too. Now that you’re caught up, for folks that value this kind of nostalgia and once thought lost series of stag films and porn theater shorts, “42nd Street Forever: The Peep Show Collection Vol. 19” from Impulse Pictures is back to the basics once again. As always the volume, which clocks in at almost two hours, is split in to man on girl, girl on girl, and basic shorts with orgies, threesomes and the like.
You could see where David DeCouteau’s contemporary film list started, as “The Killer Eye” is no more a horror film as it is a fifty minute soft core porn with twenty minutes of story added. “The Killer Eye” looks like it was made on a bargain basement budget, and considering the limited scenery, it’s not hard to figure out that DeCoteau put his entire budget on the film’s titular monster. This movie probably introduced a lot of people to hentai for all we know.
From Showtime and Kino Lorber comes what is basically a fun primer of adult cinema for folks that might want to either re-visit the genre, or perhaps learn where to start their collection. “X-Rated” is a very R rated look at some of the greatest Adult movies of all time, and manages to interview many of the surviving cast members of films like “The Opening of Misty Beethoven,” “Deep Throat,” and the once very controversial “Taboo.” Its surprising to see how much involvement many of the cast members had in making these classic porn movies, and how affectionately a lot of modern adult stars discuss these movies with a lot of insight and enthusiasm.
Gregg Bishop adapts for the big screen one of arguably best segments from the “V/H/S” horror anthology entitled “Amateur Night.” The original segment was the most memorable of the bunch and was filled with tension, disturbing gore, and a very memorable final scene. Thankfully, “Siren” grabs on to most of the original short film’s aesthetic, including a lot of call backs to the original segment. Wisely, the director and studio re-cast Hannah Fierman who has a haunting beauty that most viewers really will have a hard time forgetting any time soon. What made “Amateur Night” so haunting was that Fierman could be oddly beautiful and shockingly horrifying at the drop of a dime. Here she invokes the same qualities, playing arguably the same character.
In a private burlesque parlor in Hollywood, performers and VIP clients face off with a zombie attack. Directed by Staci Layne Wilson from her own screenplay based on a story by Lony Ruhmann, Fetish Factory mixes burlesque dances and performers with end of the world and zombie tropes for a fun result. Staci Layne Wilson takes the zombies sub-genre that is all over the place lately and focuses it by bringing her personal touch to it and adding a varied group of beauties to fight them off. Granted, this in and of itself is nothing new (we’ve seen hotties and strippers fight zombies before) but her usage of actual burlesque performers and actresses adds to this in a way that changes from the usual boobs and blood route these films take.
In the “Fetish Factory” every male client comes attached with his own fetish and arrives to the special mansion to watch some of the best and sexiest burlesque performers realize some of their weirdest fantasies. Director and writer Staci Layne Wilson delivers a horror comedy that’s admittedly rough around the edges but has enough charm and laughs to entertain audiences that enjoy a bit of kink with their zombie carnage. Carrie Keagan plays burlesque performer Bettie, a dancer at the Fetish Factory who takes on the persona of Bettie Page for her clientele and dances almost every night. After a mysterious wild storm takes hold of Hollywood, the walking dead begin swarming the Fetish Factory mansion, prompting the surviving dancers to fight off the hordes of flesh eating zombies.
Park chan-wook is no stranger to delivering some of the best character studies that also pack a sense of sexual perversity, and pain within its seams. “The Handmaiden” is one of his most epic in scope dramas that also manages to be one of the most erotic romances I’ve seen in a while. “The Handmaiden” is pure ambition that succeeds in delivering something of a labyrinthian narrative of crime, salvation, and romance that begins as a simplistic drama. It takes a brilliant artist like chan-wook to handle a film that morphs in to various themes and experience various tonal changes without it completely falling apart, but Park chan-wook handles it by making each new turn around the corner absolutely suspenseful.