Review Category: DVD/Blu Ray

EUROTRASH

Created by Peter Stuart (whose father Mel was responsible for the 1971 adaptation of Willy Wonka & the Chocolate Factory) and running for 16 series between 1993-2004, Eurotrash shone a particularly eye-opening light on the sordid and smutty goings on from across Europe (and, occasionally, around the world). Each episode is a 30-minute round-up of clips featuring our European cousins behaving in some very peculiar ways indeed. Some of the demented denizens we encounter include an artist who paints with poo, a wet-wear fetishist who owns Europe’s largest collection of raincoats, lashings of kinky S&M shenanigans, a Turkish potter who collects women’s hair to display in his workshop, the curators of animal penis and dung museums, and many, many naked Germans. Oh, and there’s lots of camp high-energy Europop too, just for good measure.

The innuendo-laden script is narrated by the magnificent Maria McErland, who somehow manages to sound manic, delighted, sarcastic, bewildered, distraught and disinterested all at the same time, while comedy impressionists and voiceover artists Johnny Daukes and Kate Robbins provide dubiously-translated dialogue in a variety of regional British accents and silly voices. The clips are all linked together by Antoine de Caunes and Jean-Paul Gaultier from their garishly bright cardboard cutout studio, where their magnetic personalities, broad French/English accents (laid on extra thick for comic effect) and good-natured bickering made them one of the most iconic TV duos of the 90s (albeit a relatively short lived relationship – Jean-Paul moved on to new ventures after the seventh series, leaving Antoine to continue alongside a cast of guest hosts).

Eurotrash often went to the effort of interviewing its participants on camera and sometimes even bringing them into the studio, and a handful of them – like the unfeasibly buxom Lolo Ferrari, the nearly-nude and not remotely attractive Romeo Cleaners, slap-headed performance art “twins” from the future Eva and Adele, and elderly Belgian singer Eddy Wally – became beloved characters who earned recurring spots on the show. There are even appearances from big names like Siegfried and Roy, Bjork and Kylie Minogue, along with Graham Norton, Lily Savage, Eddie Izzard and several others who would go on to make names for themselves in British TV and comedy circles, as well as countless supermodels and big names from the worlds of fashion and… erm… let’s just call it “smut”.

Trashy, gaudy and tasteless, it’s very much one of those “you wouldnt get away with that these days” kind of shows, but in many ways that makes watching Eurotrash today feel as unique and entertaining as it was during its initial run. Only three of the twenty discs were provided for review and information about the set’s full contents hasn’t yet been made available, so whether the dozen or so one-off specials that accompanied the series are included is unclear, but you’re still getting a huge amount of saucy ridiculousness for your money – over 160 episodes with a runtime of 54 hours, in fact! In an ideal world, a remastered Blu-ray set would have been welcome, but given that this is a rather niche release you can understand why they’ve plumped for a standard DVD for the time being. It’s quite amazing that this box set exists at all, considering the licenses and permissions involved with clearing such vast amounts of footage for general release, so we should probably just be thankful to everyone involved for making it happen. The DVD arrives on September 26th, but head over to the official Youtube channel in the meantime to either indulge yourself in a warm blast of nostalgia or find out what you missed!

TRUE THINGS

Adapted for the screen from Deborah Kay Davies’ 2010 breakthrough novel True Things About Me, this cautionary tale of the dangers of infatuation and obsession is a seductive slow-burner. Far from being an ‘erotic thriller’, this is a carefully crafted study of a dysfunctional romance in which one partner exploits the other’s longing for both security and reckless adventure.

Kate is a forty-something singleton bored by her dead-end job as a Claims Adviser, and worn down by a combination of loneliness and low self-esteem. Her life is changed by the chance encounter with the ex-con whose claim she processes. This dyed-blonde bad-boy pays her the attention she craves, encouraging Kate to bunk off work for some fun in his company. An alfresco sexual encounter, and the dalliances that follow, leave her exhilarated even as she recognises her new lover’s controlling and selfish ways. Convinced she is a disappointment to those around her, Kate is determined to make this volatile relationship work, despite the imbalance in commitment.

The screenplay by Molly Davies and director Harry Wootliff smoothes off some of the sharper, more disturbing edges of Kay Davies’ story. The result is that Kate’s nameless partner is not quite so repellent, while the ultimate resolution of her dilemma is nowhere near as explosive. Yet what is not lost in the softening of the novel’s narrative is the sympathetic and non-judgemental presentation of Kate’s often fragile sense of self. Tom Burke is excellent as Kate’s cocksure, manipulative and occasionally charming new beau. Yet it is Ruth Wilson, in an assured and exposed performance as the brittle but brave Kate, who ensures that the uncomfortable realities of True Things convince.

TRUE THINGS is available now on DVD, Blu-ray and streaming platforms

TERROR ON THE PRAIRIE

The most interesting aspect of Terror on the Prairie has little to do with the movie itself. Following her dismissal from The Mandalorian after liking being a Republican today to being Jewish during the Holocaust, former MMA fighter Gina Carano was embraced by far-right American website The Daily Wire. The site announced it was getting into the movie business, and Carano would be the lead for their first feature. Terror on the Prairie is that film.

For what it’s worth, it’s better than any movie coming from a Kevin Sorbo or Dean Cain-type. Director Michael Polish (Northfork) knows his way around a western and keeps things simple and apolitical. Sadly, there’s a Gina Carano-size hole at the centre of the film and despite Polish’s heroic efforts, eventually becomes impossible to conceal.

Set in post-Civil War Montana, Terror on the Prairie revolves around the McAllisters, a young family having a go at living off the land. The matriarch, Hattie (Carano), is vocal about her distaste for the pioneer lifestyle, but her husband believes they’re making progress. That may be, but it all comes crashing down the one morning Hattie is left to her own devices with her two children (the eldest played by Daniel Day-Lewis’ kid).

A gang of outlaws led by The Captain (Nick Searcy, Justified) approaches the farm asking for food and water, although their true intentions are far less wholesome. A tense standoff ensues, one in which the bandits demonstrate an absolute lack of compassion, and Hattie proves to be a formidable opponent.

Nick Searcy does a lot of work here. He basically does his job and Carano’s. The artist formerly known as Cara Dune is a very limited, often unintelligible, actress and you have to be Steven Soderbergh to take advantage of her screen presence (see Haywire). Michael Polish is no Soderbergh, but smartly builds Terror on the Prairie around her and lets the plot drive the action.

It’s very unlikely Terror on the Prairie will become the cornerstone of a Daily Wire studio, but at least it’s not an embarrassment. The best possible outcome given the circumstances.

TERROR ON THE PRAIRIE is out now on digital platforms and is released on DVD on October 3rd.

WICKED WORLD

A gentleman and a lady get very comfortable with each other on a sofa while another chap sits in an armchair and watches intently, occasionally fondling a gun. Abrasive metal music blares away while the lady takes her clothes off, stopping just short of baring all as the camera cuts between shots of her heaving frontage in varying states of undress so rapidly that what is already the most unerotic of trysts quickly becomes comical. Another couple enters the room, seemingly oblivious to the saucy goings on right in front of them. They change the music and start dancing in a school disco sort of fashion, while a slightly tubby grey-haired man wearing a gas mask peers in from the dark night outside through the balcony window (how he got there is anybody’s guess), completely conspicuous to all yet still somehow remaining unseen by everybody. The nearly-naked lady goes for a shower, the man with the gun decides to shoot everyone, the gas mask man enters and murders the gunman, then rounds things off by slaughtering the lady who had gone for the shower.

This all happens in the very first scene of Wicked World, and things don’t get any more pleasant or sensible throughout the remaining 90 minutes. It turns out the man in the mask is Harold, a lunatic who hates everything he sees and hasn’t been able to stop killing people since his three daughters committed suicide together and his second wife left him. In a stunning coincidence, the father of one of his victims, who happens to be a police officer and isn’t entirely innocent himself, moves in next door to Harold, and the film flits between countless flashbacks of both of their lives – told by a now-lobotomised Harold from his wheelchair while he’s being pushed around a park by a nurse (who, of course, he despises) – en route to the eventual showdown between the two. Insanity.

Wicked World was made in 1990 but unreleased until the late-2000s, and it isn’t difficult to see why it sat on the shelf for so long. The overdubbed dialogue is badly written, badly delivered and badly edited (on multiple occasions, the same lines are repeated within a few seconds of each other), the CGI (apparently added just before the film’s DVD debut) is entirely unconvincing, the non-linear structure of the film makes the whole thing appear to have been made by a cast and crew who have never seen or even heard about what a “film” is, never mind possessing any of the skills involved in actually making one, and neither have they any understanding of how humans speak, behave or interact with each other in real life.

And yet, despite its catalogue of catastrophic flaws, this chaotic display of ineptitude is really quite endearing and it’s difficult to take your eyes off what’s going on (or, more likely, what’s going wrong). Almost every scene features multiple moments that make you question your sanity, and the non-stop cavalcade of carnage (both intentional and otherwise) throws so many unhinged sounds and images at you that you keep watching out of sheer amazement that such a demented, grungy and mean-spirited movie even exists. Every time a new camera trick or special effect is introduced – and there are plenty of “experimental” techniques spread liberally throughout – your brain melts just a little bit more. Clearly the product of a deranged mind, you certainly can’t say it’s a predictable film. Having said that, there are a fair few genuinely effective and unsettling moments to be found as well, so your perseverance is pretty much guaranteed to be rewarded, regardless of whatever your views on no-budget outsider art might be. Towards the end, you might even start to wonder if this really is a terrible film or if there was some sort of method behind the madness. Is this actually the work of a bonafide genius? It may well be, but the jury is unlikely to ever reach a unanimous verdict.

Director Barry J Gillis (the man responsible for 1989’s THINGS, which is another film that needs to be seen to be believed) provides an audio commentary which answers a few questions, but he sounds as mental as you’d expect from watching the film, spending a lot of time cackling to himself, repeating the film’s dialogue (that we can’t hear because the audio has been completely removed for the audio track), revelling in the on-screen violence and making bluntly honest statements like “there’s my brother again. I don’t talk to him any more for over 12 years or more and I don’t plan on it. Nothing to do with the movie-making, just other stuff”. It’s rare that an audio commentary is as bizarre as the film itself, but Gillis proves to be quite a unique individual. He also reveals that he wasn’t happy with the original DVD edit, so he revisited the film for a director’s cut Blu-ray release in 2019, which is also included on this disc. A couple of minutes longer and with many changes made to the editing and sound effects, this version of the film is slightly more restrained than the original version but still as incoherent.

As surprising as it is that Wicked World even exists, the existence of enough footage to create an hour-long behind the scenes documentary is perhaps even more unbelievable. Getting to watch a true master at work is always a pleasure, even when the quality of the footage is as low as it is here, and you get the impression that working on the movie was as manic and disorganised as the end result is. Elsewhere, the original trailer is included along with a music video by the band Marshall Law whose cacophonous ditties are slathered throughout the movie. The son of Eddie Platt – the actor who played serial killer Harold – gives a brief tribute to his late father, and Barry J Gillis himself makes an appearance in a near 25-minute piece, filmed in 2019, where he gives updates about the status of all five movies that he’s made.

Wicked World is an absolutely staggering movie for a multitude of reasons, and this Blu-ray is a real treasure trove of trash. It’s not a stretch to say that it’s an essential purchase for any aficionado of the absurd. Those with less tolerance for this sort of thing should definitely steer well clear though!

THE LEECH [FrightFest 2022]

Christmas is a time for opening your hearts to others, and for Father David (Graham Skipper), priest at a failing provincial church, it also means opening his house. When locking up one night, he comes across Terry (Jeremy Gardner), who has been kicked out of his girlfriend’s house and is down on his luck. Putting him up for one night is the decent thing to do, except for Terry it’s an open invitation to make himself at home. Before long, he’s got his girlfriend (Taylor Zaudtke) there and David’s life is upended and his patience and faith strained.

Equally hilariously funny and grimly exasperating, The Leech is every good person’s nightmare. It’s handled beautifully by the lead trio. Skipper’s David is pious but doesn’t force a holier-than-thou attitude, but, frustratingly, does allow himself to be taken advantage of, as good people often do. Gardner epitomises our worst fears about the human race with Terry. His natural likeability means we can bear the character longer than we should, but we’ve all met a moocher like Terry at some point. We’re never sure if Terry is deliberately contriving situations or just ignorant of the results of his actions. As things get darker (how bad we won’t spoil here), we feel David losing control of his feelings as well as his home.

Writer/director Eric Pennycoff’s film is a spiralling nightmare of situations and tolerance. It also reminds us that sometimes being charitable isn’t always the best way to help people. You could almost treat The Leech as a home invasion in which the occupant is complicit. It might not be the warm and fuzzy film you’d want to settle down with every yule, but it’s a nightmarish ride that will leave you reeling.

The Leech is released on Blu-ray from December 5th.

SOMETIMES AUNT MARTHA DOES DREADFUL THINGS

Paul and Stanley have a slightly unconventional relationship. Having fled their native Baltimore after a particularly violent altercation, the older and, in theory, more responsible of the pair, Paul, spends his days posing as Stanley’s Aunt Martha and avoiding their busybody neighbour, while the slightly simple free-spirited pot-head Stanley hangs out with the ladies, often as far away from Paul’s prying eyes as possible. When the past starts to catch up with them, Paul becomes increasingly paranoid and desperate, which leads him to…well, to do some pretty dreadful things.

Despite the differences between Paul and Stanley, there’s a question over what the relationship between them actually is – they share the same bed and definitely can’t exist without each other, but there’s never any hint of any actual romance and Stanley’s infatuation with the fairer sex suggests that this may well be a tale of unrequited love on the part of Paul/Aunt Martha. Whatever conclusion you come to, it’s quite a bizarre ride, and exactly the sort of thing we’ve come to expect from the 101 Films / American Film Genre Archive collaboration that has recently seen several similarly strange and obscure undiscovered-for-decades titles being released in the UK for the first time.

The extra features very much stick with the campy/queer theme of the film. An audio commentary by queer film historian Elizabeth Purchell and AGFA’s Bret Berg fills in as many gaps as it can (very few people involved in the film’s production were still around by the time the movie was rediscovered in the mid-2000s), and the 47-minute “Drag Queen’s Ball” – an all-male review show from the ultra-glamorous 1970 Memphis Cotton Festival, of all places – is riotously entertaining. Elsewhere, the 10-minute short “Gay In III” shows footage of a festival organised by the Gay Liberation Front in the early 1970s, including an interview with a tough biker dude which has an unexpectedly delightful punchline. “Caught In The Can” is a 7-minute clip of a longer film that cuts off just as it gets going (two chaps dress up in ladies’ clothes and go out soliciting but get arrested by the vice squad), and four trailers – again sticking within the theme – give a few glimpses of what life was like for those with “alternative lifestyles” way back when (“Lusting Hours” looks especially fun – non-stop saucy softcore debauchery with a frantic 60s jazz soundtrack rattling away over the top). Another release for fans of the lesser-trodden paths, this one is fun from beginning to end with rarely a dull moment.

WHORE (1991)

Ken Russell was always a provocative filmmaker, which was one of the reasons he was so watchable and his films developed such a cult following. This 1991 release, like many of Russell’s films, was shocking to some but is quite tame when viewed today.

Liz (Theresa Russell) is a prostitute who guides us through the ups and downs of her job. Be it trying to avoid her horrendous pimp, Blake (Benjamin Mouton), or attempting to get money from her tricks. She tells us a little bit about her background, how she became embroiled with Blake, and how she had to give up her child.

Breaking the fourth wall to invite her into her work day, Theresa Russell is fantastic as Liz. While many of the situations are appalling – the level of abuse she receives is terrible, but in no way as exploitative as you’d expect – there are moments of humour in the grim tale. Antonio Fargas (Huggy Bear himself) appears as a friendly street hustler, so no typecasting there, then. Surprisingly, this is one of Russell’s more restrained films. It’s the antithesis of Pretty Woman, which was a massive hit the year earlier and both glamorised and romanticised the oldest profession by allowing the streetwalker to find her prince charming. Whore tells it like it is, but we feel there are still some punches pulled.

The Blu-ray release, from Australia’s Imprint label, is packed with new extras, including a collection of interviews with Theresa Russell and Ginger Lynn Allen (who appears as a co-worker who gets stabbed) and the writer Deborah Dalton. The informed audio commentary, appreciation, and Kat Ellinger’s video essay top things off to make this a very worthy purchase.

Whore is available on Blu-ray from Via-Vision’s Imprint label in Australia.

THE DOCTORS – THE PETER DAVISON YEARS: BEHIND THE SCENES

Reeltime’s latest 2-disc release of classic Doctor Who behind-the-scenes interviews (refreshingly this time including an all-new piece) focuses on the Peter Davison years – but in truth, the connection between most of these interviewees and the Fifth Doctor is pretty tenuous and gets little more than a passing mention. Much of the talent interviewed here worked on the series across a number of years and inevitably they had some involvement with the Davison era albeit often on a one-story basis. This is more of an observation than a criticism though; as usual, Reeltime has assembled a fascinating collection of thorough and well-considered interviews that spend as much time chronicling the lives and careers of its subjects and the changing face of British TV production as it does concentrate on Doctor Who, behind the scenes or otherwise.

Disc One kicks off in fine style with a terrific 2007 interview with sci-fi writer Stephen Gallagher, a name in the genre ascendance when he contributed the first of his two Doctor Who serials way back in 1980. A fairly deadpan character, Gallagher speaks with passion about the highs and lows of his writing career, his moments in the sun and the periods when he couldn’t get a written word published. He’s remarkably stoic about his achievements and he speaks of his first TV writing gig, 1980’s Warriors’ Gate, a troubled and challenging Doctor Who production for Tom Baker’s last season and his 1983 contribution, Terminus (which provides the Davison connection), which was a smoother experience although it’s generally regarded as the inferior show. Genre TV fans will enjoy his recollections of his early fantasy shows such as the under-appreciated Oktober, which he directed and wrote) and the BBC’s Chimera. Gallagher may not be a barrel of laughs but his insights into the life of the struggling professional writer whose preferred genres drift in and out of fashion are as salutary today as they were 15 years ago.

Equally fascinating is a chat with veteran actor/writer Barbara Clegg, whose sole contribution to Doctor Who (despite several subsequent pitches) was the imaginative 1983 Davison serial Enlightenment. Interviewed in 2009 Barbara was suffering from ill health at the time and was recovering from a stroke and whilst her memories are sometimes elusive she often speaks with fondess of her long career – she was a popular regular on 1960s hospital drama Emergency Ward 10 – and the creation of her Doctor Who serial. Happily thirteen years on Barbara is still with us.

Sadly the same cannot be said for writer/director Peter Grimwade, interviewed here at his home by Nicholas Briggs in 1987, three years before his tragically early death in 1990. Best known for his work in the Davison era (he directed the first-season Davison classic Earthshock that returned the Cybermen to the series for the first time in five years) Grimwade presents as a slightly reticent interviewee, mannered and defensive and referring to himself, in that peculiarly English way, as ‘one’. But he soon opens up and reveals more about his working techniques; perhaps the best moment in the set is the scene where Grimwade takes Briggs up to his attic office to display the magic of his massive word processor and Briggs marvels at its ability to “delete and move” text.

Over on Disc Two, we spend time with lively director Graeme Harper, famed for his “pace and energy” on set when he directed Caves of Androzani (Davison’s swansong) and Revelation of the Daleks in the 1980s. Always good value Harper, in an interview hailing from 2000, is full of anecdotes about his time progressing through the old BBC ranks. Harper would return to the rebooted show in the 21st century, of course, helming many of its new classics but it’s a shame that his ambitions to move into feature films were never realised. The new interview here features Margot Hayhoe, retired Assistant Floor Manager/Floor Manager on many classic series episodes. Interviewer Robert Dick adopts a chattier style: “You also worked with… what was that like?” is an approach that can backfire if the subject isn’t as warm and open as Hayhoe, whose memories involve working on many ambitious BBC period dramas alongside the likes of Sir Anthony Hopkins. The release is rounded off with an hour-long retrospective chat with sound engineer Dick Mills in retirement in 2006, where he discusses his long career at the BBC, his involvement with the creation of the famous Doctor Who themes and his proud record of working on Doctor Who from 1971 until its expiration in 1989.

All in all, despite its sometimes only tangential connection to its apparent subject matter, it’s another winner from Reeltime, a fine addition to its growing invaluable archive in this series of unfussy, direct, and often surprisingly probing and insightful interviews with the people who brought Doctor Who to the screen against sometimes impossible odds.

PINK FLAMINGOS (1972)

Well, it’s taken fifty years, but John Waters’ trash masterpiece is finally available to enjoy in the comfort of your own home, fully uncut. And Criterion’s Blu-ray is the perfect way to devour one of the most notorious pieces of bad taste cinema.

Divine and her family – Cotton (Mary Vivian Pearce), Crackers (Danny Mills), and mother Edie (Edith Massey) have set up home in a caravan in a remote part of Baltimore. Self-styled as the filthiest person alive, Divine has rivals – Connie and Raymond Marble (Mink Stole and David Lochary), a pair who supplement their drugs business by kidnapping women, forcing them to have babies and then selling the infants to lesbians. With those credentials, they are desperate to take the crown from Divine.

Despite all the notoriety, Pink Flamingos is a remarkable film. Made on a shoestring by outsiders, it’s become a symbol of independent cinema. The rough-and-ready feel makes the flaws all the more enduring. By no means is the film for those easily offended (there are moments that push the boundaries of even the most liberal viewer), but there’s no denying how much fun it is to spend time with Divine and the Marbles.

Criterion’s Blu-ray release presents the film looking amazing, which is impressive considering how it was shot and stored over the years. There’s also a smorgasbord of bonus features. A feature-length documentary looks at Waters’ early work and the making of Pink Flamingos in particular and is a fascinating look into the crazy world of the director and his pals. There are also some new items, including a piece in which Waters tours the locations of the film. This includes the Marbles’ house, which hasn’t changed much!

We’re probably preaching to the perverted here, but this is in the running for the release of the year for all lovers of poor taste cinema.

TREASURE OF THE NINJA

Shot on Super 8 and edited on videotape in the mid-1980s, Treasure of the Ninja was initially released on VHS by its own creator, William Lee, who was unable to find a distributor. Fast forward a couple of decades, and Lee finds a copy of his film commanding a three-figure sum on eBay, which resulted in a DVD release and now, another decade or so later, a jam-packed Blu-ray that boasts a brand new transfer from the original 3/4” master tape along with a bonus film and several shorts, all taken from director William Lee’s own library.

Inspired by Lee’s fondness for kung fu movies, Treasure of the Ninja is an ultra low-budget tale that follows a kung fu expert (Lee) and his teenage genius sidekick who are sent to the country of Ranga (apparently in the South China Seas) to protect Dr. Stewart, a bold and sassy archaeologist who is attempting to retrieve a priceless artifact from. However, standing in her way are Dr. Stewwart’s former colleague, the nefarious Steven Chase, as well as his lieutenant, El Kazi, and their ninja army. Oh, and there’s a super powerful zombie ninja that comes to life whenever the treasure’s safety is under threat, too…

If you like your films to be glossy and perfect, TotN isn’t going to be for you – the production values and general aptitude for filmmaking on display are about as far from “accomplished” as it’s possible to get. A squash court doubles as an elite training facility and a local park takes the place of an African jungle, the overdubbed dialogue for an absurdly large amount of characters (who, along with plot points, have a habit of appearing and disappearing with little explanation) is provided by a very small cast who make little effort to disguise their voices, over the top (and often hilariously inappropriate) martial arts sound effects are used liberally… Even with the best will in the world, it’s difficult to keep track of what’s actually happening – if you make it past the 30 minute mark without getting lost, you’re doing pretty well! It’s one of those wild and completely nonsensical yet utterly charming films that you really need to be in the right frame of mind for but, if you’re in that sort of mood, you’ll have an absolute blast with it. The cast all appear to be having a great time, the script is full of tremendous quips and one-liners, the fight scenes are amazing to witness and the film as a whole is an excellent example of what can be achieved with little more than huge amounts of passion, dedication and determination.

Over in the extra features, Dragon vs Ninja, Lee’s debut film, is an enthusiastic 65 minutes of martial arts mayhem in much the same vein as the main feature, although the audio track unfortunately doesn’t seem to have fared too well over the years as a fair bit of dialogue is muffled to the point of almost being inaudible. The New Chinese Connection suffers in a similar way, again full of kung fu fury but with much to be desired on the audio side of things. The four-part saga of Willie Jack is a highlight – coming from Lee’s early days, it stars a bunch of kids doing their best at kicking each others’ faces off, amusingly voiced by adults in some instances. None of the Willie Jack shorts clock in at much longer than 3 minutes, but they’re all super sweet and enjoyable to watch.

If you’ve been keeping an eye on the recent 101 Films / AGFA releases then you most likely know what sort of thing to expect by now. In terms of how this disc measures up to others that have appeared over the last few months, Treasure of the Ninja is absolutely up there with best so far. Fans of outsider cinema should absolutely look at adding this to their collection as soon as possible!