READER RECOMMENDATION: WHERE THE DEAD GO TO DIE (2012)

Reader Recommendation from Germán Biener

Beware
Weirdest!

DIRECTED BY: Jimmy ScreamerClauz

FEATURING: Voices of Ruby Larocca, Brandon Slagle, Joey Smack, Victor Bonacore

PLOT: Throughout three loosely connected stories, a demonic dog named Labby talks traumatized individuals into taking revenge on their tormentors before transporting the former to a surreal limbo-like realm.

Still from Where the Dead Go to Die (2012)

 

COMMENTS: It is worth noting from the outset that ScreamerClauz’s infamous underground horror movie Where the Dead Go to Die is usually deemed abominable from both a technical and conceptual point of view, a fitting reputation for a movie he made while frequently under the influence of drugs. Think crude, “Sims”-like computer animation, voiced by adults often pitching up their voices to sound like children. Combine this with nightmarish, hallucinatory visuals, and taboo subjects—including, but not limited to, child abuse and exploitation, domestic violence, and prostitution—and you may begin to understand what watching this film feels like.

Besides its extreme subject matter, the often-glitchy animation and jarring sound effects—like the unsettling speedcore soundtrack—are perhaps its most off-putting aspects. To be fair, however, the creator is a self-taught animator, having learned the craft via YouTube tutorials, animation software, and colleagues’ feedback, and this was his first feature-length film. The choppy animation and discordant effects actually contribute to the creepiness that the movie aims for. Nightmares tend to be disjointed and illogical, and Where the Dead Go to Die is best experienced as a waking nightmare rather than a masterclass in polished filmmaking.

Those capable of turning a blind eye to the animation errors should brace themselves for a wild ride. Consisting of three interconnected shorts, “Tainted Milk,” “Liquid Memories,” and “The Masks that the Monsters Wear,” the movie mostly takes place in a desolate town where cold dark colors prevail. The first of these stories, originally conceived as a ghastly parody of Lassie, concerns unloved child Tommy and his dissatisfied parents. Tommy’s mother is expecting another unwanted baby. On his way to school, the boy suddenly meets Labby, a diabolical dog who, in the name of God, tries to convince Tommy that his sibling-to-be is the Antichrist and should be killed.

The shortest of the three stories, “Tainted Milk” is also the most darkly humorous, despite being rather disturbing in nature (this story contains what is perhaps the most notorious scene in the whole movie—you’ll know when you get there). ScreamerClauz’s questionable sense of humor aside, the story depicts child neglect and the psychological disintegration it breeds. This focus on the warped visions of traumatized children forms a thematic thread throughout the three stories, an aspect of Where the Dead Go to Die

Continue reading READER RECOMMENDATION: WHERE THE DEAD GO TO DIE (2012)

CAPSULE: MERMAID IN A MANHOLE (1988)

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Ginî piggu: Manhôru no naka no ningyo; AKA Guinea Pig 5: Mermaid in the Manhole

Beware

DIRECTED BY: Hideshi Hino

FEATURING: Shigeru Shaiki, Mari Somei, Masami Hisamoto

PLOT: An artist is inspired by an infected mermaid found in the sewers.

Still from Mermaid in a Manhole (1988)

COMMENTS: The “Guinea Pig” series is an infamous Japanese extreme gore franchise of the 1980s. The first two installments are pioneers of the torture porn subgenre, creating the tropes such films now rely on. Later installments become more conceptually creative, however, with Mermaid in a Manhole—the only entry with fantasy elements—-the prime example.

The story follows an unnamed, grief-stricken artist. After the loss of his wife, he finds solace by exploring the sewers, painting dismembered pieces of an idolized past he finds scattered around.  Among these broken mementos, he discovers a beautiful mermaid. He is shocked to notice she is infected with something,  so he decides to take her home to look after her. And an odyssey of blood and flesh begins.

Despite the lyrical set-up, this cinematic experience is as extreme and as nauseating as it can get.  “Extreme Cinema: Affective Strategies in Transnational Media” by Aaron Michael Kerner and Jonathan L. Knapp will prove useful in anatomizing the grotesqueries. As it often is with extreme horror,  parallels can be traced with pornography in the way the (female) body is depicted (and dissected).

Mermaid features a plethora of meat shots, with close-ups on the creature’s beautiful feminine body as it is gradually desecrated by a cancerous (if phantasmagorical) illness. The descent is accompanied by moaning. Everything culminates in a series of increasingly disturbing shots, as weird, multi-colored secretions ooze  from the tumors engulfing the mermaid’s body. This is truly body-horror at its most disgusting and depraved.

There are hints of artistic ambition under the monstrosity,  however. The film’s visual palette combines dark tones with more vibrant ones to reflect on nostalgia and the passage of time. Piano tunes create the necessary ambience and enhance the sense of dread.  And there is something of an allegorical meditation on sepsis and decay.

The movie could work better, however, with a more elliptical approach.  Mermaid unnecessarily indulges in brutal realism. Secondary characters add nothing substantial, except some clumsy exposition. And the finale is simplistic and out-of-place in its attempt to rationalize the events prior to it. Yes, the movie doesn’t provide certainty, but the way it blurs the lines between what is real and what is not is unnecessary in this context, looking like a banal gimmick out of a psychological thriller.

WHAT THE CRITICS SAY:  

“…repulses and intrigues at the same time, and feeds not only your appetite for onscreen weirdness, but also your brain.”–Ian Jane, Rock! Shock! Pop! (“Guinea Pig” box set)

POD 366, EP. 180: MIDDLE-AGED SICKNESS AND SEXLESSNESS AT CAMP FANTASIA

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Audio link (Apple Podcasts)

YouTube link

Discussed in this episode:

Giles Edwards‘ complete coverage

Exit 8 (2025): Read Gregory J. Smalley’s review. The Blu-ray of the slightly weird video-game adaptation from Japan includes a Q&A with the director and a making-of feature. Buy Exit 8.

Safe (1995): Read Gregory J. Smalley’s review. odd, paranoid health-horror gets the 4K upgrade treatment from the (nothing new but the restoration and format, as far as we know). Buy Safe.

Teenage Sex and Death at Camp Miasma (2026): Read Giles Edwards’ Apocrypha Candidate review. ‘s meta-slasher is one of the more highly anticipated movies of 2026 in these parts. Debuting in select prestige cinemas this week, looks to go into wider release about August 20 or so. Teenage Sex and Death at Camp Miasma official site.

The Weird Kidz (2022): Young teens and pre-teens go camping in the desert and encounter a monster. Animated gross-out comedy-horror from the producer of “Rick and Morty” and Anomalisa, there’s an outside chance it justifies its title. Starting a roadshow now (venues at the official site), promising a wider release in the first week of September. The Weird Kidz official site.

WHAT’S IN THE PIPELINE:

No guest officially scheduled for next week’s Pod 366, but the gang will be back to discuss the week’s weird news and new releases. In next week’s written content, we’ll be thinning out the reader-suggestion queue, as Michael Diamades gets into the infamous 1988 “Guinea Pig” entry Mermaid in a Manhole,  a well-written reader recommendation explains Where the Dead Go to Die (2012),  Shane Wilson serves up a double helping of “Hen, His Wife” (1990) and “Paté” (2001), while Gregory J. Smalley breaks the reader-suggestion trend with a look at the oddball “Girl Internet Show: A Kati Kelli Mixtape.” Onward and weirdward!

366 UNDERGROUND: CUDDLY TOYS (2022)

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Recommended

DIRECTED BY: Kansas Bowling

FEATURING: Kansas Bowling

PLOT: Professor Kansas Bowling, with a degree in “Teen Age,” draws on myriad examples of girls’ ruined childhoods to explore the dangers of impressionability and sexual predation.

Still from Cuddly Toys (2022)

COMMENTS: There’s a human skeleton arranged on a string, a red backdrop, an old slide projector, and a strange figure: a professor, she tells us, with her field of study situated on the grim intersection of the evil and the mundane. Shattered futures, injured esteem and injured bodies, dogged sunniness, doom, defiance, death, and rape: all these elements, across numerous (“There are 100 actresses in this film”) testimonials, flesh out this frightful and compelling, sometimes experimental and sometimes verité, mockumentary dissecting the teenage girlhood experience in all its harrowing possibility.

These girls’ lives unfold in a murky ’70s-to-’90s era, with postcards sent from the road, nary a portable phone to be seen, and the recurring Scott Walker tune, “It’s Raining Today,” lashing ominously as crooned counterpoint to the poppy Nilsson/Monkees title track. After a brief introduction from the professor, Cuddly Toys dives right into its deadpan-dreadful proceedings with a “Miss Pre-Teen” beauty pageant, setting the tone: we’re in for a nasty ride, made just barely tolerable by the clinical absurdism of our guide and the improbable perkiness of (some of) the girls and women onscreen.

But discomfort—to put it mildly—weighs on the viewer, and appropriately so. As a general rule, I am not prone to guilt by association, but by the film’s end I was truly appalled by the evil potential, and the evil realized by, my fellow men. I had no objections to Bowling depicting this, however. There’s far too great a streak of nastiness in the world, which menaces one sex exponentially more than the other. That said, Professor Bowling slips in a trenchant observation in her closing remarks—one which raises the question as to which sex is actually considered more disposable.

Cuddly Toys is a mind-blowing journey into the casual cruelty found in our culture, weaving harrowing nightmares from grubby dreams. The victims are clear, and the perpetrators—though predominately male—seem to be just about everyone; there is more than enough blame to go around.

WHAT THE CRITICS SAY:

“I definitely wouldn’t shade you if this was not your cup o ‘tea, it’s weird. Part shockumentary, part arthouse fever dream, it’s an astutely delivered, if a bit meandering, pitch black mondo-comedy.”–McBastard 2000, Rock! Shock! Pop! (Blu-ray)

Cuddly Toys [Blu-ray]

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