With the majority of horror films coming out from the USA being lame PG-13 borefests instead of gorefests, and the commercial realese of Eli Roth’s fabulously grotesque cannibal epic The Green Inferno still months away, it’s time to go back to the seventies, once again. Do yourself a huge favour and order yourself a copy of Michael Winner’s The Sentinel, a big budget 1977 extravaganza with an all-star cast, made to cash in on the success of The Omen. Equally gory as it’s predecessor but far more tasteless, it’s a must for anyone sane who enjoys watching excessive, prolonged sequences involving cannibal lesbians masturbating each other, as well as actual, real life deformed people paraded across then screen as demons from hell. Fans of glossy haute couture fashion shoots or scenes of eyeballs being punctured Fulci style will not be left disappointed, either.
The British Michael Winner (R.I.P) was the director of the original Death Wish and it’s sequel, plus one of the all time great female vigilante classics, The Dirty Weekend (in which a rapist shoves his hand inside the pants of a 80yrs old bag lady and shouts Awww, I swear there’s a wart in here!).
The music is off a moody early eighties album filled with long electronic rhythm tracks.