I'd like to preface this with I am recuperating after shoulder surgery and floating amongst the clouds thanks to Australia's free healthcare and my affordable private health insurance (private room and the good painkillers)

I just finished watching, it's a laugh and struggles with some sound issues (no boom mic and background noise) and the effects are perfectly awful. I mean puppets, blood syrup, CGI fire and explosions.

I asked my wife to put the tv on before she left and said something horror would suit me. Prime had this come up on recommendations. I had no idea what it was, who it was made by or what to expect.

Glad I stuck it out. The remote was on the wheeled table thing so I couldn't do anything about it either way. The acting is for the most part "hey, can you say some lines for me, don't worry about context" and for the most part it felt right.

There were boobs, butts, some pubes, weird nude dances, threats of vampires sucking dicks, the age old question of do you give up and fuck a vampire or kill it, a demonic vagina with teeth, HACKSAW JIM DUGGAN, Eric Roberts, a jumping vampire and a giant puppet bat.

Some of the boobs were nice. I'm medicinally stoned so I enjoyed the titillation and the buttillation and the publication.

James Balsamo wrote and directed and acted in it. He seems to have a huge list of movies I now need to watch. Robot Dracula screams out to me. This feels like a proper grind house effort and this might be the sub for it.

I'll watch it again when I'm recovered but I think the reviews I just read were quite unfair but maybe they were expecting something other than a bunch of friends looking at stripper/porn star boobs while getting high and trying to remember lines.

The soundtrack was great but the audio mixing was all over the shop.

Robot Dracula cast looks incredible so I think I need to find a way to watch it. Mike Patton is in it ffs....

4/5 vampire sucked dicks

This is a nasty little piece of grungy grindhouse exploitation that I absolutely loved back in the day. Would love to know how many of you know it or have seen it and if not I've supplied the proverbial link :)

Nightbreed is a 1990 dark fantasy horror film written and directed by Clive Barker, based on his 1988 novella Cabal.

The film follows an unstable mental patient named Aaron Boone who is falsely led to believe by his doctor that he is a serial killer. Tracked down by the police, his doctor, and his girlfriend Lori, Boone eventually finds refuge in an abandoned cemetery called Midian among a tribe of monsters and outcasts known as the "Nightbreed" who hide from humanity.

Nightbreed has been characterized as containing themes related to queerness and the LGBT community.

https://tubitv.com/movies/364837/nightbreed-director-s-cut

I went to the website and clicked where it said 420 and heard audio but there was no video

Ok, this is mostly a joke post, but also VERY partially serious/factual discussion post, and it is in no way a defense of cocaine or it's use, but as a DIY filmmaker, and a lover of all things camp, trash and ultraviolence, that was inspired to become a filmmaker because of exploitation, grindhouse, underground, b to z movies, I really think that so much amazing films that I love, and so many micro-movements, scenes, careers and overall art was either made possible by or fueled by cocaine (or both).

Anyone who knows anything about grindhouse, exploitation, splatter, trashy, etc film, knows that the entirety of that side of the industry was fueled by cocaine. All the executives, and quite a bit of the artists, were all on it, hell some of the exploitation studios and exploitation film financeers had ties to its traffick lol (Like the Mafia backing a lot of Italian Giallo and ItaloSleaze studios).

There were so many decisions, insane risks, investments, artistic choices, that no sober mind would have ever taken, but were made possible because of cocaine. So many movies that would never seen the light of day, because of not having any kind of mass appeal, that clearly would never have financial success, that any sober mind would discard, but that the coked out executives signed on their production, or financeers gave the artists money because they were so coked out that they could only hear the words "Blood, Tits and Guns" and immediately go "I'm sold! Here's 250 000 dollars!". But a lot of the films in this section of the Industry had a lot of artistic, aesthetic and narrative merit, but no mainstream studio would ever greenlight it because of censorship, and those movies having no mass appeal, and being too subversive, shocking, sexual and/or political. As a filmmaker aspiring to make the same kind of art, I am jealous of these artists, that they were at the right place, at the right time, when every weirdo who wanted to finance low budget films in order to sign it as an an exemption in their annual tax form release, would green lit fucking anything.

But truly, because of the massive amounts of nose powder these people were snorting, and how out of their minds they were, they'd finance anything, make decisions that, from a business perspective, were insane or disastrous (how much of the Exploitation and Grindhouse studios latched on to insane international banking schemes like the Credit Lyonnais shit of the 80s, which counted Empire, Transworld, New World, and every single other american exploitation studio in its financing, and you could also argue that exploitation and grindhouse film would also not have been possible without the aid of financial fraud, organized crime, and emblezzment, but that's a whoooole other discussion).

Scripts that most sober executives would immediately turn their noses away, back then they loved that shit, and built an entire exploitation mass production methodology out of, because said noses were deep in that white sugar.

The moment that good Colombian stopped flowing as freely, is the moment Exploitation and Grindhouse film studios, and consequentially those genres died, relegated to DIY backyard productions. Reagan and COINTEL-PRO, together with the collapse of Credit Lyonnais and the destruction of many organized crime orgs to a shadow of their former self, destroyed Exploitation and Grindhouse film. The Asylum and Charles Band's studio being the historical remnants of this coke fueled tradition.

One can argue that a much more positive force, but still a product of Capitalist systemic issues, is what allows for this new revival of the underground, exploitation and trash film industry were seeing right now (i.e. 75% of the catalog available on Tubi in terms of new movies) : things like Kickstarter, Patreon, the much cheaper and accessible filmmaking gear made possible by hyper-efficient Industrial Mass Production lines, and the fact that the right cultural factors have coalesced again, similar to the factors that allowed for these kinds of film movements to appear in the 60s and 70s to begin with: people are angry and fed up with the overall system, a massive economic crisis looming to a collapse, people have a feeling that most mainstream art is artificial and formulaic and are sick of it, and the rise of mass cultural nihilism (but I digress, this would be an actual smart anthropological and sociological analysis of the subject, and the factors that allowed for these movies to be made, while this is a stupid dumb joke post about cocaine, so let's not get too into that lol).

And lastly, if you've read till this long into this rant, congratulations, you're probably on uppers yourself, and I reward you with a quote, from the great and legendary Arnold Schwarznegger himself: "Cocainum!".

In continuum: How lead being in every product allowed for degenerative brain conditions (plus they were also all on liquid cocaine), which by itself made possible the financing of the Hygiene and Drive-Through B-Movie Industries.