The films

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Love Camp 7

The film that invented nazisploitation six years before Ilsa made it a genre.

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SS Experiment Camp

A DPP video nasty far better known for its poster than for anything in the film.

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Night of the Bloody Apes

Mexican horror at the gore end: a gorilla-heart transplant, real surgery footage, and a masked lady wrestler.

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Cannibal Apocalypse

Vietnam veterans as cannibals. Sillier and kinder than the jungle cycle.

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Man from Deep River

The one that started it, by remaking A Man Called Horse in Thailand.

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Nightmare City

Zombies that run and use guns, decades early. Incompetent in enjoyable ways.

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Zombie Holocaust

Cannibals and zombies at once, reusing the Zombi 2 sets and cast.

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Contamination

Alien via Rome, with exploding chests and a Goblin score doing heavy lifting.

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Hell of the Living Dead

Bruno Mattei rips off Dawn of the Dead with a Goblin score he also stole. Gloriously shameless.

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Killer Nun

Anita Ekberg, morphine, and a plot that gives up around the hour mark.

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The House on the Edge of the Park

Deodato points Last House at a dinner party. Grubby, mean, effective.

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Blood Feast

The first gore film. Barely competent, historically unavoidable.

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Let Sleeping Corpses Lie

Spanish-Italian, shot in England, and much smarter than its stablemates.

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Anthropophagus

Almost entirely people walking around an island. Then two minutes of infamy.

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Dead & Buried

Stan Winston effects and a good twist. Underseen.

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Eaten Alive!

Lenzi recycling other films' footage into a Jonestown story. Grim work.

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The Funhouse

Tobe Hooper does a carnival slasher. A deformed killer, a hall of mirrors, and real dread.

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Thriller: A Cruel Picture

The eyepatch Tarantino copied. Contains real hardcore inserts and a real animal death.

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Martin

Romero's vampire film. A boy who needs blood, and no fangs, cape or certainty that he is one.

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The Beast

An acclaimed animator's fairytale about a noblewoman and a well-equipped forest beast, banned on sight.

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The Driller Killer

Abel Ferrara's debut. More interesting as a document of downtown New York.

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Faces of Death

Mostly fake, entirely cynical, and a rental-shop legend regardless.

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The New York Ripper

Genuinely nasty and hard to defend. The killer quacks. It doesn't help.

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Maniac

Savini's effects, Spinell's performance, and a very bleak little film.

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Shogun Assassin

Two Lone Wolf and Cub films chopped into one English dub. A grindhouse legend regardless.

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Foxy Brown

Coffy again, louder and worse written. Grier is still magnetic.

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Mountain of the Cannibal God

The cannibal cycle in a dinner jacket, ex-Bond girl and real animal deaths included.

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Nekromantik

German, banned widely, and much sadder than its reputation suggests.

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Rabid

Cronenberg gives Marilyn Chambers a blood-feeding stinger. Montreal falls apart around her.

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The Prowler

A killer in WWII combat gear stalks a graduation dance. Savini's best gore work.

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The Burning

The raft scene is the best kill in any slasher. The rest is fine.

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Cannibal Ferox

Lenzi chasing Deodato with none of the argument. Real animal deaths, no defence.

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Prom Night

Jamie Lee Curtis, a masked killer, and a decade-old secret. Halloween cashes in, disco included.

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Ilsa, She-Wolf of the SS

Shot on the leftover Hogan's Heroes set. Nothing here is defensible; it's catalogued, not recommended.

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Inferno

Argento's sequel to Suspiria. Even less plot, even more colour. A building that is alive.

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Possession

On the nasties list by pure bureaucratic accident. An actual masterpiece about divorce.