Hi Scoop,

I saw my name mentioned in the Rock Bitch inquiry so I thought I would try to clarify this one up. All the stills published in the FunHouse were taken from the VHS (obtained in Amsterdam) and titled 'Bitchcraft'. From the box cover, it is scheduled to run for 76 minutes. I do not own the DVD entitled 'Bitchcraft.' If there are scenes missing, then one reason for this could well to make the content a little more commercial - i.e exclude the extreme scenes (fisting and urination). The inquirer does, however, mention another DVD "Sex, Death, Magick". I do, actually, have a recording of this and it also runs for 76 minutes. The content appears to be identical to the VHS - complete with the extreme stuff. Hope this helps.

Regards from the man in the 'royal box'




In the genre of "transgressive cinema," there isn't much room left for transgression. Let's face it, there isn't much left that hasn't already been done, and if you are just treading on a pre-blazed trail, there isn't really much transgressin' goin' on. Gutterballs tries to meet the challenge by combining explicit sex and nudity with explicit gore in a format which I can only as "hardcore slasher" because the violence is outrageously over the top and the sex is only a hair shy of actual hardcore porn.

People of both sexes are brutally beaten and raped on camera. Buckets of blood flow out of arteries. Intestines dangle out of mutilated corpses. People die in grisly and painfully lingering ways which would shock Brave Sir Robin's minstrels. Decapitation is a particularly popular theme.

In the midst of the carnage, there is sex - or maybe I should say "sexual carnage." The first substantial nudity occurs in a brutal gang-rape which occupies more than seven minutes of running time. The second major nude scene involves a pair of lovebirds killed while in the 69 position in the dark. The killer chokes the woman on the guy's penis. The guy thinks he's just getting a really deep BJ - up to a certain point. The camera reveals the couple's genitals with some explicitness, albeit not in hardcore detail or duration.

As the film begins, violence erupts in an after hours bowling match between two rival gangs of youths. The proprietor of the lanes breaks up the fight and sends the kids away at shotgun point, but when one of the girls returns to the bowling alley to get a forgotten purse, she is raped by the other gang. When the same two gangs resume their grudge bowling the following night, members of both gangs are picked off one-by-one by a bowling alley madman ... or ... madwoman. The body count is supposed to be driven by the dramatic hook of the masked murderer's identity, although I'm not sure why anyone in the audience would care. We know that the murders must have something to do with the previous night's rape, and the raped woman mysteriously disappears early in the film, so she must be involved somehow. Unfortunately her disappearance cheats us of even the cheapest of the cheap thrills the plot might have delivered, because without her there is no Laurie Strode character with whom we can identify, so there is no way for us to become emotionally invested in the plot. Each of the film's characters is so unsympathetic that the killer actually seems to be doing them and us a favor. Since several of the victims are brutal rapists, their losses are not mourned, and we might have some emotional involvement if the raped woman were seen getting revenge on her tormentors. Since she disappears, however, and the masked murderer kills members of both gangs, we are cheated of even the kind of involvement and catharsis provided by films like "I Spit on Your Grave."

With a couple of fleeting exceptions, the deaths are not particularly original, but the film's redeeming grace is that the gory moments were specifically tailored to a bowling alley setting. Think about ball returns, hot wax machines, beer bottles, and the violent things which may be done with bowling balls and pins. The script provided ample opportunities for black humor, however, and those opportunities were generally squandered. Although I did laugh out loud at one funny/scary moment, the tone of the film and the dialogue of the characters is so consistently nasty and unpleasant that the humorous subtext can't really flourish.

The film was made with an ultra low budget, which seemed to consist entirely of the cost of the film stock. The only set is a dark bowling alley after hours, and the dozen or so actors seem less like professional thespians than co-operative acquaintances of the auteur.  Since it also lacks any strong component of humor, mystery, or emotional involvement, there's only one reason to watch, and that is if you want to see just how far it will go with the violence and nudity. The answer is "pretty damned far," if that's your bag, baby.

My film clips:


Mr Skin's captures:

Candice Lewald

Stephanie Schacter

Danielle Munro


The Oxford Murders

The basic idea behind this film was to combine a standard murder mystery with a heady, academic overlay, as filtered through pop culture. Imagine a hybrid of The Name of the Rose and The DaVinci Code.

The setting is modern day Oxford, where an old woman's murdered body is found simultaneously by a mathematics teacher (John Hurt) and one of his new American students (Elijah Wood). It appears that the murder is the first of several which will be committed by a serial murderer who will follow an intricate puzzle code. The first murder comes with the first puzzle in a series. The professor and his student are intrigued and undertake to solve the series, while the police come to suspect that one or both of them are involved in the murders.

Hurt and Frodo spend a great deal of the film's running time discussing mathematics and its application in the real world. Hurt takes the position that the abstract perfection of mathematics and symbolic logic inevitably prove useless outside of the virtual universe of the mind, because real life is too filled with uncertainty, randomness, and acts committed by irrational minds. Frodo argues that while absolute certainty may be impossible in the natural world, one may come close enough that the lingering vestige of uncertainty is virtually irrelevant in practical terms. We do not know for sure that the sun will rise in the East tomorrow, for example, but the other possibilities are so infinitesimal that there is no reasonable case to doubt it, and therefore every reason to build upon its assumption.

There's plenty of name-dropping from the world of philosophy, with Heisenberg and Wittgenstein getting top billing, but unlike the far superior The Name of the Rose, none of that jibber-jabber has much to do with the solution to the murders. It's just backdrop, which makes it of interest mainly to those few of us who took philosophy courses even when they were not required. There is a little bit of name-dropping from the world of mathematics, in which these two academics are actually supposed to dwell, but in that case the names have been changed. The film shows and Oxford professor solving "Bormat's last theorem," presumably because various academics would carp about any fallacies in a proof of Fermat's famous unsolved postulation, or perhaps because somebody (Andrew Wilkes) was acknowledged to have actually solved the real problem between the time the script was written and the time it was produced. Or maybe Fermat's estate was demanding a royalty check. At any rate, the sub-plot about the professor who solved the enigma posed by the fictional "Bormat" was utterly irrelevant to the murder mystery.

At any rate, it's a thriller which may bore you to tears in the first half if you are not interested in epistemology, and then will frustrate you in the second half with some of its more preposterous inventions, including an outrageous coincidence involving the third symbol in the series of four, each of which corresponds to one incident of murder. The second half also includes a love scene between Frodo and Leonor Watling which is one of the most awkward ever filmed since Liberace's smooching in Sincerely Yours, but men may well find Ms Watling's impressive figure to be the film's strongest aspect.

The solution is certainly not lacking in complexity. I always try to solve a murder mystery along with the investigators, and I hadn't a clue on this one until the curtain was pulled aside. You may find the solution quite interesting, if convoluted and unlikely. The one thing I found most interesting about the solution was that the student and professor both eventually realized that each of them was responsible for one of the four incidents, although neither of them actually committed a murder, thus making them the proverbial butterflies whose fluttering wings eventually disrupt weather systems on the other side of the planet, as they had debated ad nauseum earlier in the film.

Leonor Watling film clips (collages right)




  • * Yellow asterisk: funny (maybe).

  • * White asterisk: expanded format.

  • * Blue asterisk: not mine.

  • No asterisk: it probably sucks.


Catch the deluxe version of Other Crap in real time, with all the bells and whistles, here.








Kinky Pleasures


Kinky Pleasures stars Beverly Lynne in dual roles. As two identical twins, she has lots of screen exposure, both as the adventurous stripper, and the quiet teacher trying for a job at a prestigious school. When the stripper decides to rush off to Europe with her latest true love, she talks the teacher into becoming her for a week. With the help of best friend and super stripper Dee, the stripping doesn't go badly, other than the fact that the female manager of the strip club keeps hitting on her. Then there is the wife of the dean, who manages to get into it with the real stripper, who returns early and ... surprise ... takes over the teacher's life.

Ok, so the plot is not on any summer literature reading list, but Beverly Lynne has an air of accessibility that makes her very appealing, while Julia Kruis and Brooke Hunter both seem evil to the core, and there's plenty of flesh on display, enough for 120 collages, raising this film above the average among softcore offerings.

  • It is English Audio (Dolby Digital 2.0) and will play in all North American DVD players (Region 1 NTSC).
  • It's actually coded both Region 1 and Region 4 so customers in North America, Australia, and New Zealand can all play this on their standard players.

Kinky Pleasures (2006)

Click on the picture for info

Beverly Lynne 63

Dee 37

Brooke Hunter 10

Julia Kruis 10


Scoop's note. Sorry about the freakin' red thumbnails. It's the program's default, and I have to hack the code to change it. I hope to have that done by tomorrow. (I just retired the computer I've used for six years, and of course it was filled with all sorts of custom hacks which I now have to re-create.)








A Scream in the Streets


The oldies tour continues as we return to A Scream in the Streets. Sharon Kelly, aka porn star Colleen Brennan, makes another appearance and bares all in a lovemaking scene. Caps and five clips.


Massage girl Linda York gets it on with a client, but he winds up getting a little rough with her, whipping her with his belt. Caps and seven clips.








Notes and collages







Deborah Caprioglio


All Souls' Day


Mircea Monroe




Rose McGowan









Charlotte Gainsbourg in The Cement Garden



Film Clips