VEROTIKA (2019)

Note: Lately, my reviews have been showing up on a new site called FILM HORDE, but because nothing is normal these days, that site is on temporary hiatus, and I’m posting my reviews back here again — for now. Here’s the latest one.

VEROTIKA (2019)

Review by LL Soares

(Warning: Review contains spoilers!)

WTF!!

Every once in awhile you see a movie and wonder how did this get made? What was the director thinking when they made it? And that’s exactly what I thought when I saw Glenn Danzig’s new movie, VEROTIKA, which got a brief theatrical release a few months ago before it came out recently on DVD and Blu-ray from Cleopatra Entertainment. If you’re a fan of bad movies, then you’ll have to add this one to your list.

Look, I’m a fan of Danzig’s music, from his days in the Misfits and Samhain, up to his albums with the namesake band Danzig, and when I heard he was going to make a movie – and a horror movie at that – I was excited. I’d heard that the movie would be based on some of the stories from his Verotik line of adults-only comics, which meant there might be some incredible visuals – depending on the budget – because the one thing Verotik is best known for is the art, by artists like Liam Sharp, Simon Bisley, and Tim Vigil, and its generous use of nudity, especially well-endowed women. I guess, in picturing the movie before I saw it, I imagined a live-action version of HEAVY METAL (1981), with lots of nudity and gore.

Let’s say the movie fell a little short of my expectations.

VEROTIKA begins with a woman in chains (an image that is used several times throughout the film), who is confronted by Morella, a goth-looking woman with upside-down crosses under her eyes, who gouges out the chained woman’s eyes, while cracking a joke. Morella is also our hostess for these little adventures. She is played by adult film star Kayden Kross (also in SAMURAI COP 2: DEADLY VENGEANCE, 2015).

The first segment is called “The Albino Spider of Dajette.” In it, a girl named Dajette (Ashley Wisdom, REPRISAL, 2018, and the short film GOOD GUY WITH A GUN, 2020) is getting frisky with a guy, but she won’t remove her top. When he pulls it off, we see that her nipples are replaced with eyeballs (which is never explained and doesn’t add much to the plot – sadly, they also don’t move, so they never seem fully animated). The guy runs away, and Dajette cries. Her tears fall on an white spider that is crawling on some flowers, and the tears transform the spider into a weird-ass monster with eight arms (Scotch Hopkins, GANGSTER LAND, 2017, and BLOOD CRAFT, 2019), who comes to life in the real world whenever Dajette goes to sleep. Kind of an arachnid Freddy Krueger. Of course, when the humanized spider is around, he goes on a killing spree, killing prostitutes, just like Dajette, including some of her friends.

The police are trying to stop the serial killer, while Dajette alternates between being sad because no one loves her, and guilty over the horrors that happen she goes to sleep. The spider-man tries to encourage Dajette to sleep more, so he can come out and play. Eventually, she tricks him into a vulnerable situation, so he can be stopped.

Despite the fact that this one makes the most sense of the bunch, in a dream-logic kind of way, there’s still not a lot that redeems it. Sometimes the monster is free to roam around when Dajette sleeps, and other times he’s in the same room with her (with no explanation why). And what about those nipple eyes? What’s the story with those?

And everyone in this segment speaks in awful French accents. I guess it’s supposed to take place in Paris, but after awhile, with more and more characters trying to sound French, it just becomes laughable. The acting isn’t very good (I guess that’s an understatement, although Hopkins, as the spider, stands out just because his character is so odd), and the effects aren’t all that amazing either (the spider-man’s extra arms are clearly plastic and have no perceivable life of their own).

Our next segment is called “Change of Face,” and this is the one I have the most questions about, because very few of the plot elements make any sense. A stripper known as “Mystery Girl” (Rachel Alig, also in BIKINI SPRING BREAK, 2012, and OFFICER DOWN, 2013) dances around the stage with a hood, with her face hidden, because she has scars. When she’s not dancing, she’s off attacking random women and slicing off their faces with a big knife. Even though this doesn’t sound like it would kill the women, most of them die due to “shock and blood loss.” Why is Mystery Girl so obsessed with taking other women’s faces? At first I thought the idea was that she would put the faces on over her scars and look like someone new each time she stripped. This wouldn’t make much sense, but in the goofy logic of the movie, it would work. Instead, she just hangs them on the wall around her mirror. There are all these fleshy sheets tacked to the wall, for seemingly no reason. She just likes to collect them! What a waste. There’s no deeper purpose. If she’s going to be ugly, then those beautiful women she steals the faces of are going to be ugly, too!

Meanwhile, the police, led by Sgt. Anders (Sean Kanan, who amazingly has had recurring roles on the soap operas GENERAL HOSPITAL and THE BOLD AND THE BEAUTIFUL) try to solve the mystery of the face stealer.

This one was also weird because even though it takes place in a strip club, there’s not much nudity. Girls either wear string bikinis or black tape over their nipples, or fishnet tops. And nobody gets completely nude. What kind of strip club is this? Especially based on the nudity-abundant Verotik comics?

Aside from the fact that this story makes no sense, there are other reasons why it’s bad. The acting is atrocious (even more so than the Albino Spider story, even though no one has to pretend to be French in this one). Some of the line readings are just cringe-worthy, and no one acts like a real human being. The dialogue is sometimes hilarious. At the end, I just wasn’t sure what the point was.

By the time we get to the third segment, “Drukija, Contessa of Blood,” the bad writing takes a turn. Instead of giving us a plot that doesn’t make any sense, “Drukija” just dispenses with the plot altogether. It’s really just a retelling of the story of Elizabeth Bathory, the subject of the movie COUNTESS DRACULA (1971), and several other films. A noblewoman bathes in the blood of village virgins to stay young. Instead of Countess Bathory, we have Contessa Drukija (Alice Tate, of SNOWBOUND, 2017, and roles on the TV shows JEAN-CLAUDE VAN JOHNSON and THE KOMINKSY METHOD), who spends her time doing two things: going around the village to check out the virgins, and bathing in virgin blood after her young victims have their throats slit. That’s it. We never really see what she DOES with her youthful vigor. Maybe because she just doesn’t do much else. Her only real relationship is with Sheska (Natalia Borowsky, SO, YOU WANT TO BE A GANGSTER? 2018), who acquires the virgins for her and makes sure the Contessa is kept happy. There are hints that Sheska is in love with Drukija. And since Drukija is an aristocrat, there are no police coming for her, no punishment on its way.

At least this one has a lot of nudity (compared to “Change of Face”) and the acting is a little better (Tate and Borowsky stand out only because they aren’t completely awful). But it’s just the same thing over and over, with no plot development.

The interstitial scenes of Morella don’t add anything. She just presents each story, but doesn’t have one of her own, sadly.

The thing is, despite the fact that they adapted stories by Edward Lee (“Grub Girl”) and Nancy A. Collins (“Sunglasses at Night”), two horror mainstays, the Verotik comics line was known more for the art than the stories, and this movie just continues that theme. Written and directed by Danzig himself, there’s not a lot of drama, suspense, or real horror here. Throughout the film, I kept wondering why the stories didn’t go in more interesting directions, and yet they were so odd (and often pointless) that it added to the overall strangeness. This is the kind of movie where you’ll be amazed how bad it gets at times, but I have to admit I also laughed more than a few times. I really don’t think it was intended to be funny, but it’s such a misfire that there’s a strong sense of campiness, even though all of the actors (no matter how bad) take their roles seriously (if they’d been more self-aware and winked at the camera, it probably would have been worse). The production values also leave a lot to be desired.

One plus, however, is the soundtrack. Since Mr. Danzig is involved, this comes as no surprise. The soundtrack includes songs by Danzig, Ministry, and Switchblade Symphony, to name a few.

So I’ll admit, this is a bad movie, but I also found is strangely entertaining in its own way. I thought Glenn Danzig might be the next Rob Zombie (i.e., musician turned successful horror film director), but I guess he’s more of an Ed Wood Jr.

If you’re housebound with the coronavirus situation, this one might be a good double feature with Tommy Wiseau’s THE ROOM (2003), or Wood’s ORGY OF THE DEAD (1965). Hell, make it a triple feature!

Word has it that Danzig is already making a follow-up movie, described as a “vampire spaghetti western” and it will actually have some recognizable actors in it. In a weird way, I’m looking forward to it to see if Danzig actually improves as a filmmaker, or if he gives us more “so bad it’s good” chills and thrills.

© Copyright 2020 by LL Soares

 

 

 

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