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The Sickest, Gorific, Disturbing and Controversial - HDC's "Visually Challenging" 100

And here it is...after a long wait and much deliberation by the 9-member panel...

HDC's chosen 100 for the most vilest, sickest, sadistically perverse, mentally challenging and psychotic moments ever captured on celluloid.

Before we proceed any further...

WARNING :-

The following 100 movies contain acts of extremely graphic and surreal imagery ever put on the screen. If you are of the squeamish kind, get offended easily, got weak stomachs, and arent into gore and extremely disturbing cinema...TURN BACK NOW!

You have been warned...

Onto the compilation...

Begotten (1991)

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Beyond the Darkness aka Buio Omega (1979)

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Blind Beast aka Moju (1969)

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Blood Feast (1963)

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Blood Sucking Freaks aka The Incredible Torture Show (1976)

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Body Melt (1993)

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Bone Sickness (2004)

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Braindead aka Dead Alive (1992)

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"A great deal of the movies on this list are here because of their realism: they expose the depravity that could happen right in your own neighborhood and are terrifying because of it. This couldn’t be further from the truth for Dead Alive, a gorehound’s dream in the most over-the-top, cartoony fashion that I have ever seen.

To say that the gore is plentiful is an understatement. This movie takes about 15 minutes to set up the carnage, and after that it’s just balls-to-the-wall foolishness right to the end. We’ve got zombie babies, the most sickening custard of all-time, a monster-mother that makes even the worst in-laws look like a gift from Heaven, a lawnmower massacre, and – my personal favourite – a Catholic priest who “kicks ass for the Lord”.

It’s a much coveted title, especially among the movies on this list, but as far as I’m concerned this HAS to be the goriest movie of all time. There are certainly movies that are far more disturbing, but in terms of blood and guts per minute I think Dead Alive beats out just about everything. And just think – the guy behind this now makes 3 hour plus, multi-million dollar Hollywood epics. Oh how times have changed." - The_Return

Burial Ground: Nights of Terror aka Notti del terrore, Le (1981)

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Caligula (1979)

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Cannibal Ferox (1981)

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Cannibal Holocaust (1980)

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"Cannibal Holocaust is a film very much more talked about than actually seen, particularly by (typically male) teenagers and those over 30 who might remember the controversy when the film was banned all over the world upon release. To the younger (potential) spectator, it can be the exciting film ‘where real people die on camera’. Those more mature might be less convinced, but nonetheless remain wary of the film until they have actually seen it, and been reassured.

Fan discourse seriously affects the reception – and perception – of Cannibal Holocaust. While the average cinema customer would not be seen dead at any of these films because of their notoriously violent and worthless reputation, they were a huge hit on the grindhouse circuit to jaded audiences and those seeking wilder entertainment.

Early reviews of Cannibal Holocaust were united in condemnation, mostly concentrating on the animal cruelty scenes. They also helped propagate the myth that the human deaths might not be special effects, sometimes referring to the real execution footage and blurring the line of reality between those shot dead and those eaten. To curious viewers with stronger stomachs this could be irresistible, and make the film a ‘must see’ – perhaps if only to satisfy oneself that this is not a real murder (or ‘snuff’) film and come out of it feeling more informed than the average person and equipped to pontificate about it. This attitude seems common in many of those who have seen the film, particularly ‘film buffs’ desperate to impress about such controversial (and hard to find, at least uncut) work. ‘Serious’ reviewers were quick to denounce the film as ‘phoney’ – people do not die after all – and hypocritical, as in true Italian Mondo tradition the film purports to condemn what it takes great voyeuristic delight in displaying. This did not affect public curiosity, and conversely boosted ticket sales as people still wanted to find out what all the fuss was about. The film reaches out to the darker, voyeuristic natures buried within us all – and people always want to investigate controversy and scandal if only to judge it for themselves.

Unlike other films, with the passing of time Cannibal Holocaust has lost none of its ferocious power. The sub-genre of cannibal movies has long since died out (unlikely many directors would be able to include the requisite animal slaughter with today’s tighter laws against cruelty), but new generations of horror and exploitation fans keep it very much alive and DVD reissues make such films more widely available. Decades of review and analysis reveal it to be still widely condemned because of its approach to animals and depicted atrocities, but it has now also been accepted as a unique and very intelligent film with a lot more technical achievement (its manipulative ‘fake documentary’ style is quite significant in these times of ‘reality’ TV) and message (interpreted as pure hypocrisy by most, as bravely constructive by others) than previously considered – the message is tackled in the next section. Once the furore over the film’s initial release had calmed down, critics were able to look beneath the viscera and wayward claims of ‘snuff’ to discover a cleverly shot and edited film (how difficult is it for professional cinematographers to ‘dumb down’ their skills in such a way to convince the audience the verite footage might be ‘real’… while still applying just the correct amount of style to make the trick watchable?), well acted (save for some poor dubbing) and – at the time – totally original in its style and execution.

Whether they admire or dislike the film, commentators of Cannibal Holocaust have one thing in common – they generally agree it is a hypocritical – even racist – piece of work, summed up in its using the final thoughts of the professor who wonders ‘who the real cannibals are?’ as justification to display all the hardcore carnage that has gone before. There is a moral to the story – that it is not civilised man’s right to plunder the world of the unknown – but so brutally and apparently contemptuously is it attempted to be forced home the point is easily lost. Pure exploitation is the charge, and since the film is a figurehead of the whole 70s/80s European sleaze and violence trend few have bothered to try and view it as anything more than questionable titillation, or a very guilty pleasure. The director it would seem wanted to shock us with graphic depictions of one of the greatest taboos, spice it up with real animal and human deaths and dubiously try and explain it all away with a glib comment right at the very end. However, there is another theory that many have missed the point and interpreted Deodato’s film incorrectly.

The first narrative of Cannibal Holocaust is the professor’s mission to investigate the missing documentary crew. He treats the natives with dignity and respect, and eventually earns both acceptance and the telltale film cans they are holding as a result – sealing the agreement with his gift of a tape recorder the natives have become instantly fascinated with. This ‘proper’ narrative displays evidence that the best way of maintaining the virility of the indigenous social structure is to allow periodic redistribution of structural forces. The ‘proper’ film clears up the huge mess left by the documentary crew in the ‘improper’ film – the significance made all the greater if we consider the explicit and voyeuristic pleasure in cruelty and barbarism that has gone before. New social relations are restored from their collapse, as the morally sanctioned gift cycle upholds the social cycle.

The second narrative documents the collapse of the exchange system, the most basic and primitive ritual of civilisation. Even amongst themselves the crew have no respect for public and private boundaries, filming themselves emerging naked from a shower, vomiting and defecating – but more obvious is their exercise in destroying the system of giving and taking, with their raping and pillaging of the native tribe. The ‘improper’ film then warns us of the consequences of this social breakdown, and the selfish and aggressive system of taking and taking back.

So, rather than being about chaos and destruction, his film is about restoration and redistribution. This has been lost on people distracted by the alleged voyeurism/racist hypocrisy claims, and no doubt because of the narrative structure which displays the restorative/‘proper’ story before the destructive/’improper’ film, leaving a nasty taste when the film finishes instead of a positive note. Also, a final statement just before the end credits reveals we are watching this film because it was smuggled out of the TV studio after the professor ordered the footage to be burned – the employee responsible joining in the chaos.

Exposed as not quite the studied hypocrisy it is widely thought to be, we should consider another cause of such widespread condemnation. The earlier project from the documentary crew is genuine third-world atrocity footage – executions of men tied to trees and shot – and while undeniably real, slips by almost unnoticed between the two main narratives. It is described as a ‘set up’, which does not suggest the footage is ‘acted’ with special effects but rather that the crew have paid to have such an event arranged for their cameras.

This short clip puts the elaborately amateurish cannibal ‘documentary’ into perspective, and breaks the taboos the acted tale merely pretends to – that of voyeurism of the moment of death. The viewer, having observed the execution footage, knows somehow it is real – yet has not been prompted to release any emotion or outrage about it since it is presented low-key and undramatically. Once the acted destruction and cannibal scenes begin to unfold in the ‘improper’ narrative, the shock, reprehension even anger generated from viewing the executions is unleashed. The melodramatic faked killings must carry the can for the viewer briefly witnessing real death.

Therefore in conclusion, Cannibal Holocaust reveals another flip side to its charges of exploitation and voyeuristic nature. The rules we unconsciously desire to break are broken without our knowledge in the fleeting but troubling experience of the execution footage, but little attention is drawn to that. The cinematic intrusion toyed with in the cannibal sequences is endorsed and consolidated by our watching the real death footage, as it sanctions the film’s narrative consequence and is a crucial glimpse of the nightmare reality Cannibal Holocaust disguises itself as. Deodato’s film provokes morbid curiosity and subsequent guilt about the private moment of death – very cleverly – with these interesting results. Very few women seem to want to experience this film. Perhaps it is down to the truthful rumours of genuine animal slaughter, or the untrue tales of human murder (in the cannibalistic sense at least), which both require the stoic, even macho defences of the male viewer who makes up the higher percentage of horror/exploitation fanatics. However, examining the more rational and considered ways the film should be interpreted, it is interesting that such an intelligent and provocative piece of work remains largely hidden behind myth and hysteria." - PR3SSUR3

Chinese Torture Chamber Story 2 aka Moon ching sap daai huk ying ji chek law ling jeung (1998)

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Combat Shock (1986)

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Crash (1996)

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Eaten Alive aka Mangiati vivi (1980)

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Ebola Syndrome aka Yi boh laai beng duk (1996)

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Evil aka To Kako (2005)

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Evil Dead (1981)

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Evil Dead Trap aka Shiryo no wana (1988)

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Entrails of a Virgin aka Shojo no harawata (1986)

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Guinea Pig - Devil's Experiment aka Za ginipiggu: Akuma no jikken (1985)

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Guinea Pig - Flowers of Flesh & Blood aka Za ginipiggu 2: Chiniku no hana (1985)

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Guinea Pig - Mermaid in the Manhole aka Za ginipiggu 4: Manhoru no naka no ningyo (1988)

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Henry: Portrait of a Serial Killer (1986)

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House on the Edge of the Park aka Casa sperduta nel parco, La (1980)

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I Drink Your Blood (1970)

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I Spit on Your Grave aka Day of the Woman (1978)

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I Stand Alone aka Seul contre tous (1998)

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Ichi the Killer aka Koroshiya 1 (2001)

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Ilsa: She Wolf of the SS (1975)

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Irreversible (2002)

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Island of Death aka Ta Paidia tou diabolou (1975)

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Jungle Holocaust aka Ultimo mondo cannibale (1977)

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Junk aka Junk: Shiryô-gari (2000)

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Kichiku: Banquet of the Beasts aka Kichiku Dai Enkai (1997)

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Last House on Dead End Street (1977)

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Last House on the Left (1972)

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Live Feed (2006)

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Maniac (1980)

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Masters Of Horror: Imprint (2006)

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Meet the Feebles (1989)

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Men Behind the Sun aka Hei tai yang 731 (1988)

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Mountain of the Cannibal God aka Montagna del dio cannibale, La (1978)

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Murder-Set-Pieces (2004)

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Pink Flamingos (1972)

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Premutos: Lord Of The Living Dead aka Premutos: The Fallen Angel aka Premutos - Der gefallene Engel (1997)

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Red Room 2 aka Shin akai misshitsu (heya): Kowareta ningyô-tachi (2002)

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Requiem for a Dream (2000)

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Riki-Oh - The Story of Ricky (1992)

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Salo: or the 120 Days of Sodom aka Salò o le 120 giornate di Sodoma (1975)

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Pier Paolo Pasolini's film version of The 120 Days Of Sodom by the Marquis De Sade is shocking, disturbing, and will make the faint of heart run for the exits. It also happens to be a remarkably well made film, not simply an exploitation film, that will haunt you for days after.

During the reign of Benito Mussolini, four Italian aristocrats abduct 16 youths and subject them to 120days of physical, mental, and sexual torture. They also hire four aging prostitutes to tell graphic stories of their past escapades to further enhance the enjoyment of the villains.

Though often described as a social commentary on how the wealthy and privileged corrupt the lower classes, I myself see it as a fascinating psychological study of the darkest side imaginable of the human mind and what that mind, if given free reign, is capable of.

If you think you have the stomach for it, gather up your courage and watch Salo. - TheWickerFan

Saw III (2006)

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Schramm (1993)

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Scrapbook (2000)

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Slaughtered Vomit Dolls (2006)

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Slither (2006)

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Splatter: Naked Blood aka Nekeddo burâddo: Megyaku (1995)

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Stacy (2001)

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Street Trash (1987)

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Suicide Club aka Jisatsu saakuru (2002)

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Tetsuo the Iron Man (1989)

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The Baby of Macon (1993)

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The Beyond aka E tu vivrai nel terrore - L'aldilà (1981)

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The Burning Moon (1992)

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The Dentist (1996)

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The Dentist 2: Brace Yourself (1998)

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The Gore Gore Girls (1972)

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The Incredible Melting Man (1977)

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The New York Ripper aka Squartatore di New York, Lo (1982)

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The Passion of the Christ (2004)

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The Untold Story aka Baat sin faan dim ji yan yuk cha siu baau (1993)

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The Virgin Spring aka Jungfrukällan (1960)

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Three…Extremes aka Saam Gaang Yi (2004)

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Thriller: A Cruel Picture aka Thriller - en grym film (1974)

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Tumbling Doll of Flesh aka Niku Daruma (1998)

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Twitch Of The Death Nerve aka Bay Of Blood aka Reazione a catena (1971)

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Un Chien Andalou (1929)

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Videodrome (1983)

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Visitor Q aka Bijita Q (2001)

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Zombie aka Zombi 2 (1979)

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Thanks to Zwoti for making this a sticky.

Any panelists or other members want to write blurbs...feel free to choose.

You can use the "Its Time To Compile Another 100" thread for your choices and compare it with others...so that they dont clash. First come, first serve basis.

all the sickest movies i know of are there along with a catalogue of others. i'll be trying to check out as many as i can as soon as possible. thanks for taking the time!:) i'll look forward to reading the various synopsise (i think that's the plural) and would also be interested to see a gore/sick rating cause i got burned by AUM and haven't been the same since. i'm thinking 1-5 star system with the inclusion of half stars.

Great list! Thanks for the compilation, V.
I am really glad to see Ingmar Bergman's The Virgin Spring in there. Natural Born Killers, that is another great film.
Some really fabulous yet overlooked surreal films in there. Nice job!

I think The Story of Riki-Oh was a great film and very gory but I laughed more than I cringed. I don't think I would have included Dead Alive for the same reason... it didn't horrify me, it made me laugh. Ah well, it ended up a great list. Thanks for all your hard work _V_!

Excellent work by all involved and an impressive list of films to never watch with your parents!

I've been though the selection process on one of these lists before and it's a tremendous pain in the ass, so way to go:) .

Excellent list. A deserving pat on the back of all those involved for their extreme hard work.

Great list! Thanks to all the panel members, and thanks to you as well, _V_. Good to see some movies I had forgotten about, now I have to see them again.

Once again, good job.

i think the excluding of movies that are already on other hdc lists is a good idea cause it makes more room for movies that otherwise wouldn't get mentioned.

There are some very good films on that list ichi the killer, irriversible, a requim for a dream. I think that one of the most disturbing ones is visitor Q. That film is just .......... it kinda freaked me out!!!!!!!!

This is a icky poo nuts thread

I cant watch most of these moovies! Ewwwwwwww

has anyone seen the all night long trilogy??? it is completely insane, twisted as all hell.

Darn good work there - excellent!

Glad Virgin Spring and NBK's got on it.

And a healthy selection of psyche twisters in addition to gorefests!! Thank you :D

Still thinks In the Mouth of Madness should have squeezed itself in there somewhere, but thats my little opinion!!

Some of these I have seen, others I have never heard of, a few are movies I have been avoiding.....LOL......and some are on the Netflix list, or will be shortly.
Seems like a pretty good list though, good job.

Fantastic list.There is some stuff on there I can't wait to see.

Good job to all involved.....of course special kudos to V.

Thanks everyone. A special thanks to all those involved in this project.

There's a few I really should track down and watch. I kinda burnt myself out on the extreme shit last year thanks to The Devil's Experiment and the large ammount of weed I smoked before I popped it in the player :D
Needless to say I've jumped back on the horse and dig it again.