Don't Go in the Woods...Alone (1981)

From http://www.thescreamcast.com/wp-content/
uploads/2015/04/dontgointhewoods.jpg

Director: James Bryan

Screenplay: Garth Eliassen

Cast: Jack McClelland (as Peter); Mary Gail Artz (as Ingrid); James P. Hayden (as Craig); Angie Brown (as Joanne); Ken Carter (as Sheriff); David Barth (as Deputy Benson); Larry Roupe (as Store Owner)

A Night of a Thousand Horror (Movies) #99

Another day, another infamous slasher but one that's difficult for me to defend even if I'm happy it has its fans By now, it's a film-by-film basis whether I actually like the slasher sub-genre or not; here the tone of grungy synth and wooden post-synch dubbing, as a deranged mountain man picks off anyone who steps into his vast track of land in the Utah woodland, should appeal to me for its catastrophic weirdness, another to sit next to The Nail Gun Massacre (1985) in slashers I inexplicably like more than the Friday the 13th films and other popular entries I've seen due to their ramshackle natures. Sadly I can't because, whilst Nail Gun is a constant and prolonged series of madness, Don't Go into the Woods was a slog, a similar series of random murders as the other film but feeling like being actually stuck in the middle of the Utah woods without any guidance to follow. Fair credit due, the woodland setting does stand out, a sense of scale from how vast and isolated it is. Brief snippets of homebrew regional filmmaking is found, mainly anything involving the sheriff department, a sense of character valuable in spite of wooden acting due to verisimilitude, but it was ultimately a bad decision to concentrate on the countless, desensitising number of deaths, where barring four central campers everyone else just pops up to be disposed of immediately.

It worked for Nail Gun only because everything in each scene is illogical and in its own alien world, where even a simple piece of dialogue about finding a body had a bucket load of weirdness to it, whilst here you can see the glue trying to stick it all together and not succeeding. There's a fine line eventually to finding "virtues" in a film like this with their haphazard, unintentional moments of humour, and having to wait for them over a couple of minutes or even over ten. I could find the wheelchair bound man's endless journey up a hill, only to be cut short, sickly hilarious. Cherry and Dick are, understandable, the most well known aspect of the film , despite being characters for one scene, memorable not only for the dialogue and its pronunciation, by just for Dick's ridiculous kimono dressing gown. The score ends with an end credit joke, originally meant for humour but liked well enough to be put in the credits, from the composer that's actually funny in a legitimately way. But a lot of the film is literally a random bystander who looks the same as other random bystander being offered, without tension or shock to it, and there's a period in the middle where the film drags to the point of agony.

A lot of slashers obsess about their body country over characters, but perversely its only where there's a personality to the films that they're actually of any interest to me. It's not just the justifiably well made, or even great, ones that can succeed in this, but those who manage even through clang worthy dialogue and random, unexplained events to have a charm as a result. As much as I'm happy with Don't Go in the Woods...Alone having its own fan base, it was a miserable experience to revisit, not enough humour and fan to sustain it. Moments of actual grit, nastiness with a bear trap or some of the deaths, gives it some weight but a lot of it is difficult for me to gauge with. 

From http://images4.static-bluray.com/reviews/11465_5.jpg

The Guyver/Guyver: Dark Hero (1991-94)

From http://vignette4.wikia.nocookie.net/legendsofthemultiuniverse/
images/c/c1/Zoanoids.jpg/revision/latest?cb=20140629183834

Director(s): Steve Wang and Screaming Mad George (The Guyver)

Steve Wang (Guyver: Dark Hero)

Screenplay: Jon Purdy (The Guyver)

Nathan Long and Steve Wang (Guyver: Dark Hero)

Cast: (The Guyver) - Jack Armstrong (as Sean Barker/The Guyver); Vivian Wu (as Mizky Segawa); Mark Hamill (as Max Reed); David Gale (as Fulton Balcus); Michael Berryman (as Lisker); Jimmie Walker (as Striker)

(Guyver: Dark Hero) - David Hayter (as Sean Barker); Kathy Christopherson (as Cori); Bruno Patrick (as Crane); Christopher Michael (as Atkins); Stuart Weiss (as Marcus)

A Night of a Thousand Horror (Movies) #97-8

A 1000 Anime Crossover

The convoluted credits above for this blog entry is only because on 1000 Anime I decided to cover both the live action adaptations of Yoshiki Takaya's legendary manga at once. Two very odd creations in hindsight, The Guyver from 1991 a Brian Yuzna production that decided for a PG-13 tone in spite of its elaborate practical effects, the sequel Guyver: Dark Hero (a film I covered on an old blog, whose review I might put on this one in the future for interest) taking influence from the fight coordinator's history with the Power Rangers TV series in their original Japanese form, alongside his group the Alpha Stunt Team, to turn the short franchise into a bloodier version of that show with pride in its low budget ambition. Do they qualify for "A Night of a Thousand Horror (Movies)" though? Body horror does permeate them, something that could rear its head more if I ever covered the animated adaptations from Japan, as men are turned into monsters (including an infamous moment for one famous actor in the 1991 Guyver) and the Guyver unit itself transforming a person into an alien-human hybrid who can overcome even death with Cronenbergian effect. While they're sci-fi monster movies first and foremost, they do fit in terms of their premises as horror, only the 1991 film took some strange liberties into a lot of slapstick comedy with cult horror actors like Michael Berryman, Jeffrey Combs in a cameo and David Gale, and Guyver: Dark Hero having stuntmen in rubber monster costumes kicking the crap out of each other like a bizarre take on an old fifties American monster movie.

For the full, lengthy review of both in one post, follow the link to the review HERE.

From https://reelgingermoviefan.files.wordpress.com/2013/11/guyver.jpg

The Witchmaker (1969)

From https://horrorpediadotcom.files.wordpress.com/
2015/06/the_legend_of_witch_hollow_1.jpg

Director: William O. Brown

Screenplay: William O. Brown

Cast: Anthony Eisley (as Victor Gordon); Thordis Brandt (as Anastasia); Alvy Moore (as Dr. Ralph Hayes); John Lodge (as Luther the Berserk); Shelby Grant (as Maggie)

A Night of a Thousand Horror (Movies) #96

You'd hope for the best with The Witchmaker. At least some sympathy for the movie as it's an early sixties horror film late to the party and arriving at the end of the decade instead. It starts promisingly for a regional horror film with its dank, atmospheric Louisiana swamp land and local colour in an amateur boatman, giving exposition about a long history of witchcraft in the area and a series of killings of women currently taking place. There's even a surprising amount of pep to the dialogue following a psychic researcher and his students as they lock themselves up in an isolated cabin without realising the danger they're in, a lot of pep to the dialogue in place of the usual bland dialogue I've had to suffer through in the past, giving The Witchmaker for the first twenty minutes a greater interest next to its peers, suggesting the best from it.

It's a film stuck in the transition to the grimier seventies exploitation films; the opening is of a fur clad "Berserk" (sic) named Luther (John Lodge), a Satanist who alongside practicing blood magic also likes to kill women and hang them up naked upside down off trees with a giant occult symbol painted in red paint on their bare stomachs. You don't however see any nudity and the gore's restricted, a drastic sense of prudishness to the film despite its date of origin, softcore without any scintillation and moments of sleaze which are fully washed away from imitating a Roger Corman movie in its bright colours and almost kitsch tone. The need to tease the viewer but not show anything goes as far as a sunbather having a strategically placed branch in the foreground covering their torso like an Austin Powers moment, adding an absurdity to it particularly as it goes out of its way to have this sensuality still there but not wanting to actually show it. Whilst its amusing to see, I have to wonder how films like it faired as product as the more notorious films of the seventies were starting to be released a year on from The Witchmaker's theatrical run onwards, its view of a witch's orgy in the finale being exotic dancers in skimpy clothes dancing on tables and actors pretending to drink and lull on top of each other. Even a year earlier when you have films like Witchfinder General (1968) or Night of the Living Dead (1968), this light fluffy tone even for classical tropes like witches was doomed to extinction or, as films would still be made into the seventies with this tone once in a while, as one off regional productions stuff in their own ghettos, likely having to up the ante in gore or sensuality to stand out even if they were still campy as hell. Even more family friendly films would still have to change with the times drastically from this type of movie.

Sadly the film not only starts to drag as Luther the Berserk starts to pick people off, recruiting an old witch turned into a youthful vamp through blood ritual to assist him, but becomes monotonously dull, Luther not living up to being an actual Berserker and the cast not reacting to having to bury at least a few people with greater intensity. It finally starts to become a cheap imitation of a Roger Corman movie as that pep to the dialogue starts to wear off; as one of the female psychics in the research group is being pulled to join the witch's coven and people are dying, the cast are just quoting exposition, becoming evidence to why most of those American International Pictures productions were less than eighty minutes rather than over ninety as The Witchmaker is. There's eventually a point in the middle half where my mind started to keel over in agony as the minutes stretched on and on without any sense of escalation. Considering its mix of a colourful interpretation of Satanic witches, psychic powers and parapsychology, aspects of sleaze and the perfect location of Louisiana woodland, a film like this shouldn't just have descended into asinine dialogue sequences but it's a common occurrence I constantly bump into with obscurer American horror movies. Even when it picks up by the end with the tamest Satanic orgy possible, even with lascivious whipping for punishment of a female member and colourful figures who can turn into cats, its perfunctory and only stands out as the script decides to beat the villains, in a nice touch admittedly, with old folk remedies involving wild garlic and boar blood, whether it's based on real folk lore or not still a difference I wish would've influenced the rest of the movie I suffered through before. 

From https://horrorpediadotcom.files.wordpress.com/
2015/06/witchmaker-1969-feast.png

Yurikuma Arashi (2015)

From https://kiddtic.files.wordpress.com/2015/03/yuri-kuma-header.jpg

Director: Kunihiko Ikuhara

Screenplay: Kunihiko Ikuhara and Takayo Ikami

(Voice) Cast: Miho Arakawa (as Ginko Yurishiro); Nozomi Yamane (as Kureha Tsubaki); Yoshiko Ikuta (as Ruru Yurigazaki); Ami Koshimizu (as Konomi Yurikawa); Aoi Yūki (as Mitsuko Yurizono); Aya Endo (as Reia Tsubaki); Junichi Suwabe (as Life Sexy); Kazutomi Yamamoto (as Life Beauty); Kikuko Inoue (as Yuri-Ka Hakonaka); Mariya Ise (as Eriko Oniyama); Mitsuki Saiga (as Life Cool);

A 1000 Anime Crossover

Abstract Spectrum: Fantastique/Surreal

Abstract Rating (High/Medium/Low/None): Medium

After Mawaru Penguindrum (2011),  my introduction to Kunihiko Ikuhara with only his reputation to fed off was an immense, rewarding experience in itself over twenty four episodes. With only twelve episodes here, his follow up Yurikuma Arashi is literally about lesbian bears, a fairytale of love between woman and bear woman that has an almost naive, sincere message of tolerance against homophobia, but something you stay for with its pop surreal artistry and exaggerated, light hearted tone even with serious subject matter like peer pressure and finding one's identity.

Whilst not as surreal as Penguindrum, trying to devalue Yurikama as just an "normal" project for Kunihiko Ikuhara  is absurd considering Ikuhara's worldview is fairytale, bright coloured fantasy with an elasticity to the world, metaphor not only standing in for character emotions but becoming the scenery being said characters. He's a director, alongside the creative team and animators that work on this sort of show, who is blatant in his symbolism but manages to get away with it from the elegance of his aesthetic style, a gorgeousness matched with open eccentricity that's emotionally awarding.

For the full review of this series, follow the link to my other blog 1000 Anime HERE. 

From http://i.imgur.com/FYnIfFW.jpg

Home Sweet Home (1981)

From http://www.chud.com/wp-content/uploads
/2012/11/Home-Sweet-Home-Front.jpg

Director: Nettie Peña

Screenplay: Thomas Bush

Cast: Jake Steinfeld (as Jay Jones); Vinessa Shaw (as Angel Bradley); Peter De Paula (as Mistake Bradley); Don Edmonds (as Harold Bradley); Charles Hoyes (as Wayne); David Mielke (as Scott); Leia Naron (as Gail); Lisa Rodríguez (as Maria); Colette Trygg     (as Jennifer); Sallee Young (as Linda)

A Night of a Thousand Horror (Movies) #95

There are times in Home Sweet Home which are admittedly amusing. It starts on the right tone for a slasher you can laugh with through the introduction of its killer Jay Jones (Jake Steinfeld), a hulking muscle man in white t-shirt and jeans whose high on PCP and constantly giggling loudly. Immediately he shows himself to be utterly evil when, having already killed someone to steal their car, he runs over an older woman crossing a street...one who admittedly, even for an elderly woman who dropped her shopping bag, could've gotten away if she didn't stand still in the middle of the road waving her arms. It's the sort of thing that would get a viewer excited for the film when said killer ends up in the Californian woodlands where a family with friends have gotten together to celebrate Thanksgiving.

Thanksgiving also has an alien quality to it because, as an Englishman whose never been on American soil, Thanksgiving is a holiday entirely unknown to me yet was constantly referenced to in a lot of American imports in film and television to the British Isles, never actually described in detail as, understandably, an American audience would have grown up with the holiday without any need for context. It can't be glibly compared to when family gets together for Christmas, but it's a holiday that I have no real grasp of expect for how its depicted in cinema. It's certainly a holiday, like every other one, that's ripe for a horror film to exploit - having just seen Jackie Kong's The Being (1983) pervert Easter, a Thanksgiving film especially as a holiday meant to bring families and long distance relatives together is rife for psychodrama and grim ickiness. Particularly as well with Eli Roth's infamous and acclaimed fake trailer Thanksgiving (2007), it's a season that should've had an iconic slasher film for, not just two obscurer entries like this and Blood Rage (1987).

Home Sweet Home is certainly not that iconic film. Immediately after its intro, while with a charming homebrew quality, it starts to drag dreadfully. For the first two-thirds, it's the amateurish foibles of the family being picked off that's of more interest. The Latin girlfriend Maria (Lisa Rodríguez) of one of the friends who's constantly cheerful and happy to be there, not letting a visible language barrier between her and others stopping her from enjoying herself. The father (Ilsa director Don Edmonds) who's crankiness is only match for stinginess in stealing petrol from an abandoned car, or his wife who with a friend manage to get out a speeding ticket with charm and a revealing blouse top. The most well known, and infamous, character however is Mistake (Peter De Paula), the son whose face is always in mime paint, walking around constantly with a guitar with a backpack amp on his shoulders and justifying his name to the rest of the family. On one hand he's incredibly annoying, jumping in on people to scare them or being a pervert, even commenting on his own parents making out in their bedroom being chased by someone else. On the other hand he's the most interesting. Charming his young sister (Vinessa Shaw in her debut as a young toddler) with magic tricks, conjuring eggs out of his mouth at the dinner table, or trying to woo Maria after becoming smitten by her. He is, for better and worse, the reason anyone probably remembers Home Sweet Home to this day.

From https://www.blogger.com/blogger.g?blogID=8539389480904624558#editor/target=post;postID=3443222396163186523

Unfortunately as the characters start to be picked off the film becomes less and less interesting. A lot of any amusement from the film is the strange quirks like the father grumbling about getting the peas cooked for the dinner or the posters for multiple King Kong films in the guest room, little things that might sound boring and asinine for some readers to consider but more interesting for me considering the movie as a slasher film is pretty mundane. Baring a leap on a person under a car bonnet, like Madman (1981), the giggling man-mountain killer is actually pretty nondescript if it wasn't for his constant laughing. The lack of tension forces one to appreciate the absurd non-events as the family's Thanksgiving is constantly interrupted by the lights of the electricity going off or there being no wine in the house.

It suggests that, perversely, I'd rather how this ridiculous mundane dross in horror films but its exasperated by the fact that most of the time I don't find the stalk and slash scenes in many slasher films that interesting, and considering Home Sweet Home is far from the best in the sub-genre, it's pretty screwed once most of the characters who were actually interesting are gone and the bland, white meat protagonists are left. I admit to jumping one, in all due praise to the film, but it doesn't sustain what is mainly a slog for the final thirty or so minutes. It's still a lot more entertaining for me than Blood Rage - the other Thanksgiving slasher film more proficient technically in a momentous way, but lacking the charm in this one's shambolic nature - but that's a low lying fruit for it to pick. That it's also one of few slashers from the golden era of the sub-genre directed by a woman doesn't redeem the film's actual quality either sadly, Home Sweet Home only really stands out in this area as part of an odd trilogy where Nettie Peña first edited the hardcore porn horror film Dracula Sucks (1978), than directed this, than in 2009 twenty eight years later directed a documentary promoting wind power, which is as unconventional as you'd expect for a career trajectory. 

From http://pics.imcdb.org/0is91/homesweethome51fu2.6212.jpg

The Nail Gun Massacre (1985)

From http://2.bp.blogspot.com/-7-W5f-uu7Rg/VglYiD_o1oI/AAAAAAAADug
/p5olk-1QFlA/s1600/main-nail-gun-massacre_LRG.jpg

Director: Terry Lofton (and Bill Leslie)

Screenplay: Terry Lofton

Cast: Rocky Patterson (as Doctor Rocky Jones); Ron Queen (as Sheriff Thomas); Beau Leland (as Bubba Jenkins); Michelle Meyer (as Linda Jenkins); Sebrina Lawless (as Mary Sue Johnson); Monica Lawless (as Bobbi Jo Johnson); Jerry Nelson (as Leroy Johnson); Mike Coady (as Mark)

A Night of a Thousand Horror (Movies) #94

Synopsis: A camouflage wearing, bike helmeted figure driving a gold hearse is picking people off in a small Texas town with a nail gun. Amongst those killed, whilst almost random as a killing spree at first, are builders involved in a gang rape of a young woman some time before. Could the events be connected?

Watching The Nail Gun Massacre, it's a slasher film which invaded a small Texas town and cross pollinated to create a bizarre mutant. It's a notorious film which you can't just call "so bad it's good"; those type of films, outside of film fandom, would be strange as a concept for a casual horror fan to digest, likely to put many off, but something like The Nail Gun Massacre is a more imposing film to try to appreciate, the drastic tonal shift from a serious opening involving rape to the farce it becomes enough to put many off it before you get to the moment after moment of utter ridiculous scenes, dialogue and production issues on display. With the exception of that opening, which is jarring to the rest of the film, that sense of being more strange than most films of its ilk is why I appreciate it more. It's what I'd call "catastrophically weird", a rare breed that stand out for how strange they are because of their numerous technical and logic issues as they are for the odd good virtues they have. Works with so many bad ideas alongside good ones, aspects sometimes like here that cannot be defended in the slightest, and yet such a compelling bombardment of things outside of conventional human behaviour let alone film character logic that they're surreal by accident. Noticeably, why they're rarer, is that unlike a film like Birdemic: Shock and Terror (2010), which have one or two memorable traits but are mostly sluggish experiences that need a group viewing or alcohol to work, nearly every minute of these movies are constantly wrong footing you and far more interesting (and entertaining) as a result.

For me a "bad" film isn't enough in being funny in its flaws as it eventually loses any interest. Instead there should be such a density in illogical aspects that you'll find new ones over multiple viewings, which The Nail Gun Massacre has in spades from the film crew being visible onscreen from their reflections in a car door to the hodgepodge of Whitey Thomas' frenzied synth score against the diegetic sounds onscreen, like the inexplicable rifle firing sounds in an open woodland scene that had to be weaved into the film's world when the individuals firing the guns near their shooting area couldn't be shut up by the production crew. The fans of this film legitimately love it and a lot of this is that, like another catastrophically weird film Things (1989) from Canada, it's so out there in its ramshackle tone that The Nail Gun Massacre, which is mainly a series of random killings by nail gun - not even in fatal areas but even death by nail in elbow or stomach - strung together by a slasher film revenge plot, does have a manic lunacy to it. In terms of slashers films, a horror subgenre I can be unpredictable in my opinions on per film, The Nail Gun Massacre is one of the more entertaining examples because it never gets slogged into the predictability of many others due to this tone, and is such a weird beast to experience only over eighty minutes.

It helps as well that the late director and creator Terry Lofton, realising mid-production the problems he was facing (that he needed to shot drastic amounts of new footage to splice in, that people as mentioned were firing guns nearby mid-filming, that cast members became unavailable or had to be replaced by his own mother in one of the more infamous scenes), and went with the punches, adding intentional humour and absurdity to the tone. Thankfully, he didn't start deliberately making a bad movie, a scourge of modern cinema, but continued to make what he wanted to be the next Texas horror film after The Texas Chain Saw Massacre (1974), "cheaper than a chainsaw" as one memorable tagline stated, whilst accepting any flaws that came up as part of the film's flavour. Baring the serious first sequence, which is uncomfortable to sit through as it's done as a serious and (actually carefully done) scene of sexual violence, you can easily view the rest of The Nail Gun Massacre, a completely separate film, as having its tongue firmly in its cheek whilst never giving up on trying to be credible as a horror movie, even if it still failed, something which is absolutely applaudable.

Technical Detail:

Another factor is that, like a lot of these American independent horror movies, they still manage to be apt documents of real lo-fi Americana even when they're following the scripts of horror plotlines or this incompetent. The verisimilitude found from having to use local actors or, as mentioned, even the director's own mother (who was the actual store owner of one of the locations) has an immense effect in giving the film more to admire even if the original intentions are found wanting. The actresses cast to do nude scenes yet look like women you'd actually cross on the street at that time in Texas with mid eighties perms and Bridget Jones knickers, the same applying to the men including one now immortalised onscreen in one of the most gratuitously long scenes of the film of his bared buttocks thrusting back and forth dead centre on camera.

Even if the plot's a shambolic mess, devolving very quickly into a series of random kills and characters who appear and then disappear, what I found myself interested in more was the grungy reality of a film that had to rely on non-actors and locations you normally don't seen in higher budgeted horror movies from the time instead. The Nail Gun Massacre is far more rewarding in its humorous asides intentional or not, of the girlfriend unimpressed by her new boyfriend taking her to a cafe for $1.19 grilled cheese, the actor who has to push himself back even when supposed to be playing dead on top of a barbecue he's just landed on in his death scene, the playfully sarcastic relationship between the denim wearing doctor (Rocky Patterson) and the Sheriff (Ron Queen), our central characters following the killer's trail of caresses, or the general sense of a local American town of the time that you rarely got in the glossier Hollywood films. For every gaffe technically or in content, the homebrewed tone helps support The Nail Gun Massacre for all its mishaps by unexpectedly turning it into a document of the place the production was shooting at that time, just one that happens to be wrapped up into a slasher film.

The only gaffe I have issue with, and it could be with how the film is preserved on physical media, is how the audio and music together on headphones is a nightmare at points. Whitey Thomas' music for every head scratching decision, (infamously the piano cords undercutting one piece of the Sheriff's dialogue of example), is also amazingly creepy in its literal screaming tones and drones. The campiness of it doesn't detract from how openly ghoulish it is even in this absurd content. Even the ridiculous robot voice for the killer, whilst making bad puns that can't be heard properly most of the time, still have an appropriate madness to it. The full audio mix however actually gave me a headache, which in some ways added to the current viewing but isn't necessarily needed to appreciate the film.

Abstract Spectrum: Psychotronic/Weird

Abstract Rating (High/Medium/Low/None): Low

The Nail Gun Massacre definitely sits in a place that feels like Texas but is completely alien to planet Earth in general, the sort of place where police go to a crime scene but leave the body, telling the bystanders an ambulance will come to pick it up later in one of many moments of terrible crime scene management. Where one can ask about the wild butterflies and killers being on the loose. Rarely do I find "bad" films to have a sense of anything fun to them because I can't laugh at incompetence and boredom creeps in; in rare cases like this film, what happens is the equivalent of finding yourself in a strange world with its own bizarre logic instead, where even the editing or music is distorted and effecting you. It's amazing actually how such an erratic film, especially as someone with mixed thoughts on the subgenre, manages to still work altogether in spite of the glaringly obvious problem of its mangled production history with extensive reshoots. But a lot of it, intentional and not, is to do with the fact it's a constant barrage of weird dialogue, strange plotting decisions and visible production mistakes. Baring one prolonged scene of the doctor on the phone talking, the film always has something new to stumble over, placing it above many "so bad they're good" movies which coast along with only a few wooden lines of dialogue and mostly blandness. It's probably as much due to Terry Lofton's right decision in being in on the joke that helps with this, wanting to still make a well made film, helped by its use of film celluloid even on 16mm, but taking the blows on his chin without issue.

Personal Opinion:

One with precaution unless a viewing can appreciate this type of cinema on its own terms, but I can't help but like The Night Gun Massacre. Rarely do I like this type of cinema but when it's this consistently odd, it becomes something above being a "bad" film I should laugh at. Instead it has an appropriate deranged energy that intoxicates me, left dizzy afterwards but rewarded by that queer feeling alongside the ridiculous memorable mishaps.

From http://2.bp.blogspot.com/-4Pi3giU5PE8/UTXRuOVTiUI/AAAAAAAAYxc/
itg1nqaSkek/s1600/Nail-Gun-Massacre-Woods-15.jpg