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‘Trapped Ashes’ is a ‘horror’ anthology with each episode lop by a different director. There’s an dreadful lot of sex on note, but not distinguished unusual, inventive fear, and the main reason for this is a limp and gawky script by the otherwise fabulously named Dennis Bartok.
You know Ken Russell’s segment isn’t going to be out and out gore, but a leer at his back-catalogue reveals the guy’s no stranger to low imagery, and as you’d question, his share is the most successful.
‘The Girl With The Gold Breasts’ makes the most of a frail conceit, and it’s to Russell’s titanic credit that he turns such an uneventful legend into something so watch-able;
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A wannabe Hollywood actress, undergoing a routine cosmetic arrangement, receives vampire breasts. When she complains, we glean to search for Russell and two other aged guys, dressed in very disturbing slither, eventually revealing they have pretty vampire breasts as well!
That’s it. It’s comic, quite bizarre, and you’re left scratching your head a bit afterwards.
‘TGWTGB’ shows Russell’s imagination is as warped and mischievous as ever, and an interview on the ’special features’ reveals him to be cheerfully demented.
The other three films are no-where arrive as solid. Sean S. Cunningham’s is a kind of live-action/Manga hybrid plot around a Buddhist temple with plenty of sex as you’d seek information from, but not worthy chills.
Monte Hellman’s fraction seems to be a thesis on why Kubrick left for Europe in the 60’s; his girlfriend was a witch apparently.
The final legend by John Gaeta, an fx man, about a goth’s relationship with the tape-worm she was forced to section her mother’s belly with, has at least the embryo (apologgys droogies) of a kindly view, but the climax is so distinct it falls straight off the veil.
Joe Dante does the linking tale, and apart from a broken-down cameo by Dick Miller, it goes absolutely nowhere.
The ‘twist’ is the kind of post-modern nonsense that gets contributed to druggie art-school rag-mags. I’m all for wracking my brain if there’s payola at the crunch, but it unprejudiced doesn’t happen. It’s no support that the acting is so lazy and one-dimensional either, you don’t care if anyone dies or not.
Unfortunately, apart from Russell, it’s all a bit of a slider. Needs a powerful more subversive and vexed writer to pick up the best out of these guys.
3 stars for Lionsgate giving Ken Russell work and putting the British Film Industry to shame, but it’s a grand 3.
If you’re a fan of cinematic fear anthologies in the spirit of “Cat’s Witness,” “Trilogy of Anxiety” and “Asylum,” to name a few of the better crafted examples of this subgenre, you won’t be disappointed by “Trapped Ashes.”
To open, the title of the film itself evokes haunting memories of “Burnt Offerings,” so – gentle viewer – it should approach as no spoiler to you that the four “guests” (including couples) compelled to screech the stories of their “WORST Accurate LIFE NIGTMARE” in order to dash from a Hollywood set-piece terrified house, as “hosted” by the always quirky but oddly avuncular “tour leader” Henry Gibson (best remembered for his memorable performance in Robert Altman’s “Nashville”), well … suffice to say that they are NOT going to be able to successfully “stammer for their salvation” under ANY circumstances. They’re doomed from the moment they region foot in the used Norman-Bates-like “hotel.” In fact, they were doomed BEFORE they entered. But why? Clue: There is a karmic, cyclical element inherent in their collective damnation. But! No spoilers here, fans. Unbiased study! Carefully.
Each of the guests, to place it mildly, gives “bizarre” a whole fresh semantic, as evidenced by their “acquire it or not” tales of ultra-steamy demonic sex, parasitic mammary implants, embryonic, alienated [and "bent"] twin sisters, and apt friendship sabotaged by nothing less than a modern-day succubus. What fun!
I was cheerful to contemplate directorial efforts from the always-over-the-top likes of ancient genius Ken Russell; steady-state solid work from the indelibly accurate dismay maven Joe Dante; and most surprisingly of all (at least for this reviewer), I found director Sean Cunningham’s exploration (and exploitation) of “unconventional Oriental eroticism” to be the MOST enthralling and unique of all five of the vignettes (the “wrap around” narrative included), a anecdote so novel and so stimulating (in more ways than one), that you’ve never seen it before but you will WANT to peek MORE of this “labor-of-love (and lust) ” style of late-nite legend telling. “Jibaku” (which is Japanese for [loosely translated], “I sacrifice my hold mortal life for you so that you will have to sacrifice, in turn, YOUR mortal life for me [with the implication being: Because it's the ONLY scheme we're going to be able to be together until the slay of time!]“) is – at worst – a selfish savor chronicle with a horrific twist; at best, it’s a poignant memoir of two terminally lonely people who “reach together” (under extremely tenebrous circumstances), a respectably pleasing American lady on vacation (with her less than sexually-fulfilling husband) and a lovely young Japanese “monk” tormented by the insanity-inducing life of a monastery, where eroticism of ANY kind is strictly verboten. I actually cried when I watched this particular vignette from the immensely talented Cunningham (a revelation considering he came from “Friday the 13th” roots), such was its overpowering haunting effects upon me. Kudos all around then, but especially to Sean Cunningham for his amazingly, global-minded exploration of “the inhuman condition,” no matter where in the world one happens to win themselves.
Without dragging this review out beyond the attention span of ANY potential viewer, honest RENT (or acquire) “Trapped Ashes” for a stormy night’s satisfying fulfillment of lust, twisted like, greed, fright, suspence, a bit of the ragged “horrible out,” but principally – five gracious pieces of macabre fiction good for those who honest can’t net enough of this kind of anthologized mesmerism. Accept “Trapped Ashes” if you can. It won’t give you nightmares fortunately (nobody wants those), but it will obtain you smile … crookedly, and leave you guessing as to the fate (and its raison d’etre) of the ill-fated “tour go(n) ers.”
Kudos to Henry Gibson as well, for acting as the “small bit too innocent looking” former man, leading the guests through a a house and a night they’ll never forget, nor ever seem to remember either, as they disclose it over and over and over again. But wait! Have I said too considerable already?
Stop me now before *I* become the next victim of a 6th vignette, and the FIFTH guest gory-story weaver in “Trapped Ashes.” Fair Ogle It, dear fans! Enough said.
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