Category Archives: 13 days of sov

DEMON QUEEN – 13 Days of Shot on Video! (#8 )

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

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Despite clocking in at just an hour long (barely), Demon Queen still somehow manages to feel three or four times that length. Let’s take a look at the description straight from the box cover to get an idea of what we’re dealing with:

Lucinda is the ice cold, flesh eating, evil Demon Queen on a rampage of lust and terror… a sinister demon assassin who brutally murders her victims one by one. Jesse thinks he has escaped the bloody massacre but, for him is reserved the worst fate of all…

No friends, I assure you: the worst fate of all is reserved for we, the watchers of Demon Queen. Continue reading DEMON QUEEN – 13 Days of Shot on Video! (#8 )

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REDNECK ZOMBIES – 13 Days of Shot on Video! (#10)

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

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I’ve said this many times before, but SOV horror movies are not for everyone. One of the biggest factors in deterring the average viewer is the overall aesthetic: bad editing, even worse acting, junky sound, and just a general aura of cheapness. Redneck Zombies is sort of the exception to the rule, however, as it was released by Troma Entertainment — the film company who prides themselves on their no-budget, laughable productions. So in a way, Redneck Zombies was safeguarded from the usual expected shortcomings that plagued the average SOV horror movie; suddenly, those limitations were now strengths. I assert that Redneck Zombies just may be the crossover hit that bridged the gap between shot-on-video and the collective hip consciousness. I can’t name many (if any) friends who have seen SOV gems such as Sledgehammer or Killing Spree, but all of my friends know what Troma is and have seen many Troma films, and even a handful have seen Redneck Zombies. Whodathunk. Redneck Zombies, a vanguard film! Continue reading REDNECK ZOMBIES – 13 Days of Shot on Video! (#10)

SLEDGEHAMMER – 13 Days of Shot on Video! (#12)

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

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For me, Sledgehammer is the title I most associate with the 80s SOV wave. Maybe because it’s the only SOV title I remember hearing tossed around during my nascent horror years, or perhaps because it’s the one SOV VHS box I recall actually seeing with my own two eyes at the video store as a kid. (And what a box it is!) Categorically speaking, it is technically the first SOV horror movie made specifically for the home video market.  So to me, Sledgehammer is the epitome of pure shot-on-video slop. And yes, it’s taking a lot of effort restraining myself from making a Peter Gabriel joke. Continue reading SLEDGEHAMMER – 13 Days of Shot on Video! (#12)

VIDEO VIOLENCE – 13 Days of Shot on Video! (#13)

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

In my opinion, Video Violence is one of the better SOV horror films of that era. Easily in my Top 3. Really, it’s just a flat out good movie. All the cheapo SOV hallmarks are there: muddy sound, hammy acting, blunt cuts. But if you overlook all those expected constraints, you’re left with a really cool idea for a movie that feels like it could be a Twilight Zone episode for the modern age. Continue reading VIDEO VIOLENCE – 13 Days of Shot on Video! (#13)

CANNIBAL CAMPOUT – 13 Days of Shot on Video! (#9)

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

For the uninitiated, shot-on-video (or “SOV”) horror films were a genre of movies that made their debut during the VCR boom of the early- and mid-80s. VCRs had been readily available since the mid-70s but didn’t really take off until home rentals (via mom & pop video stores) became popular in the early 80s. Around the same time, camcorders had become available to the public. Fledgling, optimistic directors who aspired to make names for themselves seized this opportunity to make their own products and get their videos on the shelves of local and national video stores. Through pure chance and desperation on the part of these emergent video shops (who at the time, had little rentals to offer), these home movie maestros were somehow able to get their analog features on the rack right alongside big Hollywood productions. It was an amazing and exciting time for cinema and home video. Continue reading CANNIBAL CAMPOUT – 13 Days of Shot on Video! (#9)

BLACK DEVIL DOLL FROM HELL – 13 Days of Shot on Video! (#11)

With 13 Days of Shot On Video I’ll be reviewing a new shot-on-video horror film every weekday for the last two weeks of October. You can view all entries HERE.

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In terms of sheer unintentional lunacy, Black Devil Doll From Hell may be the most batshit crazy movie I’ve ever seen. To call Black Devil Doll from Hell “a doozy” — a movie wherein a woman buys a possessed doll from a thrift shop and is then repeatedly raped by said doll for pretty much the entire remaining runtime — feels like the understatement to end all understatements. We the viewer really truly don’t know what we’re in for, even if we think we do. Black Devil Doll from Hell is audacious, bizarre, borderline pornographic, and the director is clearly insane. But dammit, it has heart! A real earnest sincerity that a lot of films are lacking. I mean, how else can you explain why director Chester Novell Turner decided to make this strange and unclassifiable movie? He obviously had a vision he truly believed in, and you can’t help but admire that.

Even by SOV (shot-on-video) standards, Black Devil Doll from Hell is one of the lower-tiered releases. Abrupt cuts, continuity jumps, and audio issues abound. But again, Turner saw the production through to the end — ponying up $8000 of his own money to complete it — and that takes dolls. I mean balls! Balls. It takes balls. Not dolls.

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The movie opens with a painfully long credit sequence: we get your standard white type on navy background, set to some weird proto rap-rock tune whose lyrics do us the service of laying out the entire plotline (kind of like a James Bond film from Hell.) For almost seven minutes the repetitive song drones on, though to be fair it does include some killer guitar solos. Mind you, most films don’t even have opening credits anymore, and the ones that do are usually set to some sort of kinetic motion or action, so the length of the opening is particularly noticeable.

And speaking of music: the music throughout the rest of the film (composed by Turner, naturally) takes on two different vibes. There are these upbeat instrumentals that sound like they came from a Wesley Willis demo tape; oddly cheerful and wonderfully out of place in such a horrifying movie. And then there is this high-pitched stabbing synth sound that almost has a John Carpenter feel to it, but it’s so loud and shrill that it oftentimes overpowers the dialogue. Needless to say, if musical variety is your thing, Black Devil Doll from Hell has you covered.

So, as the movie plods along, we find out the lead (bravely played by Shirley L. Jones) is a church-going good girl who frowns upon promiscuous behavior and shuns men who only show interest in her for her body. However, she makes the regrettable mistake of buying a possessed (and extremely horny) doll from a thrift store and then showering in front of it. She plops it down on the toilet, says “these are the only eyes that’ll see me naked before I’m married”, and then gets in the shower. It’s like the puritanical version of saying, “I’ll be right back” in a horror movie. Anyway, while she’s in the shower, she starts fantasizing about having sex with the doll. And this pattern continues for the next couple scenes: she showers, she fantasizes about dummy sex. It’s surprisingly pretty graphic, too: the camcorder-look and homemade vibe make it feel even sleazier and realistic.

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Eventually the doll actually comes to life, knocks her out and ties her up, and then, y’know, rapes her repeatedly — all the while insulting her, exhaling some mysterious smoke, and shouting “bitch!” more than Freddy Krueger could ever dream of. And yet the most insane part of it all is that she’s supposedly deriving pleasure from the whole thing. It’d be offensive if it weren’t so goddamn insane. Ratcheting up the insanity: the doll was modeled after Rick James. No, I’m not joking.

So now that she’s experienced, y’know, puppet penetration, she seeks out the real thing. But she finds that her human suitors don’t quite live up to her plastic partner. No one can please her quite the same way the Black Devil Doll from Hell does. So she pleads with the doll to do the horizontal mambo with her one more time, only this time the doll has apparently had enough of Jones, and gives her what I can only describe as a “deadly orgasm” — at least, that’s what it looks like.

Soon enough, the doll makes his way back to the thrift store and is purchased by yet another innocent, unsuspecting young woman. And so the cycle begins again. And just like that, the barely-70 minute runtime is up and it feels like you’ve been watching this thing for 3 hours.

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As I said earlier, Black Devil Doll from Hell is pretty bad even by ’80s SOV standards. Not the worst I’ve seen, but pretty close. Of course, I mean all of this in terms of its technical achievements. When it comes to originality and the always appreciated “what the hell did I just watch?” sensation, Black Devil Doll from Hell knocks it out of the park. It’s vile, and strange, and moralistic, and misogynistic — but you’ll also be laughing while shaking your head in shock.

Turner may only have two films to his name — Black Devil Doll from Hell (1984) and the equally-treasured horror-anthology Tales from the Quadead Zone (1987) — but he’s still lauded among the tapeheads and celluloid collectors, like some VHS version of Dalton Trumbo or Herk Harvey. Watch if you absolutely must (and you must, naturally) but have a bar of soap ready to wash the dirt off afterwards.

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