Mardi Gras Massacre

As much as I think this film is a pile of crap, there's 'something' about it that I like. I think it's the grainy, dirty feel to it, which isn't something many horror films have. This cannot save it though, because whichever way you look at it, it gets rather tedious after the first few deaths. Don't get me wrong - they are quite bloody in a Herschell Gordon Lewis kind of way. I even thought the weird sounds that are played when the killings occur added to the grainy atmosphere. It's just that you get sick of seeing the same thing over and over. Also there's too much tedious bumbling from the police and a dull sub-plot. I thought the ending was rather cool though, when he drives the car into the water and all they find is his mask. Mind you most people would have fallen asleep by this point.

Overall I would say Mardi Gras Massacre is worth the once over if you're a horror completist - just don't expect too much!

Not exactly a straight slasher as many believe but it's surely as cheesy, and unintentionally funny as any slasher from the 80's.

"Mardi Gras Massacre" could be considered as a toned down exploitation low budget. The plot asks for brutality, violence, sleaze but the truth is that the execution of the idea isn't as half as good as it should. Poor New Orleans, really. Not because of the recent tragedies, but, because this movie has generated a bad fame for the Mardi Gras celebration. Of course, only among in the Horror movies world.

The ritual method is repeated in all the death scenes. So we don't get originality or probably there wasn't enough budget to at least create three different gore scenes. It's okay but even ultra low budget slashers have at least two different killing methods! Anyways, "Mardi Gras Massacre" has generated some kind of cult over the years but sincerely, this isn't a must see. The movie should only be watched by b-movie lovers or morbid fans of low budget cheese and sleaze!

This inept gore movie is often compared to Herschell Gordon Lewis' "Blood Feast", but it is not quite as bad nor nearly as unintentionally funny as that anti-classic. However, it is very hard to take seriously and didn't really deserve its famous inclusion on Britain's "video nasty" list.

The very repetitive plot involves an Aztec high priest picking up surprisingly attractive New Orleans prostitutes, tying them naked to a makeshift altar, and cutting their hearts out with a stone dagger. This is intercut with a few expository scenes of the local police stumbling ineffectually around, and some canned footage of the Mardi Gras celebration to (barely) justify the title. I might point out that the influence of the Aztecs never quite reached New Orleans (it should have been a Haitian voodoo priest but I suppose THAT would have been culturally insensitive). Also, the real-life Aztecs generally preferred to sacrifice MALE warriors from other Indian tribes, and besides anybody that knows anything about making sacrifices to the dark gods knows that they prefer virgins, not prostitutes. Obviously, this movie is pretty damn ridiculous and hardly compares to bargain-basement realism of other "nasties" like "Maniac" or "I Spit on Your Grave". It does mix full-frontal nudity and a lot of gore, but even in that respect it's not as disturbing as such films as "Bloodsucking Freaks" and "The Gore Gore Girls" (although it does lack the black humor of those films).

The film has been accused of misogyny (probably based on throw-away dialogue and ad-lines about "cutting out the part with which the women do evil"). But as I've often said, just because you enjoy seeing naked women tied to fake sacrificial altars doesn't necessarily make you a misogynist, and NOBODY is going to mistake the unconvincing plastic dummy that they use for heart-ectomies with a real woman (real women have rib cages). Far from encouraging "sexual sadism" as censors have claimed, it might turn normal people on with the nudity but will have them laughing their asses off at the inept special effects. This is a movie very undeserving of its reputation--either good or bad.

Of all the films that were banned in the United Kingdom during the Video-Nasty era of the eighties, Mardi Gras Massacre is probably the least notorious. It's also one of the few that has remained on the rejection list, which isn't because it's extremely sickening or shockingly gory like so many of the titles that it shares its status with. It's just that I doubt any distributor has had the heart (or the balls) to admit to wanting to resubmit it. The fact that it truly is a cinematic nightmare that's so bad - it's bad - probably has quite a lot to do with the on-going abandonment. Despite the somewhat suggestive title, a cover picture showing a hooded killer about to murder a bikini-clad bimbo and various misleading plot summaries that describe a masked maniac stalking the Mardi Gras festival, surprisingly this isn't a traditional stalk and slash flick. But if you consider movies such as Maniac and Nightmares in a Damaged Brain to be classified in that category (which I guess they should be, kind of), then MGM just about fits the bill. This would signal director Jack Weiss' last attempt at box office success, and watching it through just once, leaves it not too difficult to understand why. I'm betting - although I don't know for sure - that this one emptied drive in theaters quicker than a terrorist bomb threat, creating a similar amount of disgust and animosity towards those responsible for the sudden evacuation. But for readers that find themselves still mysteriously allured to learning more about this long-erased from existence exploitation offering, let me tell you exactly what was going on over at the festival that particular year…

After a seemingly never-ending black screen displaying the title in what looks like Times New Roman fonts, the camera pans into a nightclub. That's right, there's no credit sequence or any kind of opening, it just dives straight into the, err, 'action'. A smartly dressed guy enters the club and approaches two cheery hookers. He begins flashing a few bucks and tells them that he's looking for something 'special'. He asks them who they think is the most 'evil' woman in the bar tonight and they point out Shirley, a dark haired strumpet that's seated at the opposite end of the dance-floor. He heads on over and asks her if she's truly as nasty as her pals have described, to which she replies cheerily, 'Listen honey, I could probably take first prize in any evil contest!' So with that, a sale has been made, and the two of them head back to the Gentleman's apartment. I should make it clear now that we never learn this mysterious fella's name, but he looks like Robert Mitchum might have done if he'd been smashed in the face with a shovel repeatedly, so I'll call him Bob. Bob seems like a polite sort of fella, kind of like a bizarre throwback from the cinema era of the forties - complete with three piece suit, Bogart-worthy dialogue and even a dodgy brylcream-laden side-parting! (Or was it a toupee – Hmmm?)

Once inside his bachelor pad, he proposes that the couple retire to the next room to engage in something 'special'. Although cinematic ally they're only meant to be crossing the hallway, in reality, they must have hurried along to the nearest soundstage, because the room's the size of a five-a-side football pitch! The hooker doesn't bat a fluttering eyelid to the fact that the décor resembles a satanic mausoleum, and she's even less concerned when Bob re-appears dressed from head-to-toe in traditional psycho garb, which includes a striking copper-mask! She strips butt-naked and lies down on the bed, whilst the soon-to-become madman gives her a massage to get her in the mood. Shirley's clearly enjoying herself at this moment in time, she even remarks, 'Maybe I should pay YOU for this!' By now, I was rather scratching my head and considering re-evaluating this particular movie-viewing experience. I mean, here I am watching a psychopath in full killer-costume massaging a clothes-less hooker with her legs spread like a tonne of margarine in a furnace? I've heard of couples getting their kicks by sado machoism, but I'm sure you'll agree, this is taking things to an altogether stranger level. Eventually the tone is set, when Bob finally reveals his less than erotic motives. He ties the prossie down and again begins asking her if she's truly a naughty girl. (Kinky, eh?) Then he grabs a dagger and stabs her in the hand, remarking, 'This hand accepted the money for evil!' Next up, it's her feet, presumably for transporting her to the place where she committed such…oh, you know! Finally, the masked menace performs a cack-handed autopsy, in order to remove the part of her that she uses for all this apparent wrongdoing. This sequence is undeniably the film's gory highlight, which most probably single handedly got it added to the DPP list quicker than a moggy fleeing a rabies ravaged rott weiler. And no, it isn't the 'body part' that you're thinking of (you dirty bugger!), - it's her heart, actually!

Cue some chop-socky editing as we switch scenes, and we see that poor old Shirley's corpse is being loaded into an ambulance for her last journey in an automobile. Kudos to Bob – the artistic maniac, who tried to disguise his work by dumping her body smack bang in the middle of a set of train tracks. Whether the 10.30 to Mardi Gras central splattered her across the landscape we'll never know, but still, ten out of ten for creativity! Then we head over to the morgue, where we meet the town coroner and the two nincompoop detectives that are soon to be on the case of the bizarre ritualistic killer. Seeing how this was released during the 'do you feel lucky' era of grizzled lawmen on the edge like Dirty Harry, Serpico and Jimmy 'Popeye' Doyle, we explore the notion that cop and killer are two sides of a similar jaded coin. This particular psychopath may not be the kind of guy that women would want to spend too much time alone with, and he may not possess the warmest of intentions towards naughty natured hookers. But at least he's not a woman-bashing light-fingered alcoholic, which is more than can be said for our male-protagonist, who is supposed to be on the righteous side of the law for gawd's sake! Anyway, he heads out to interview a few of Shirley's buddies, which results in him meeting Sherry (Shirley, Sherry – all we need is a Shelly and we could have an alternative to the Three Degrees!). Sherry is yet another of the town's down and out sex-sales-women, and she arouses the interests of Sergeant Mike Abraham – our very own Dirty Harry. The two begin a relationship, which punctures the plot of Bob and his sacrificial slaughters. It also results in a bad movie moment straight from the abyss of cruddy cinema hell. After the two have a heated argument, Sherry heads down to the local discotheque to drown her sorrows the old fashioned way. Among other things, she fights with a couple of bimbos, shows John Travolta how it was done by clearing the dance-floor and boogieing like a Bee Gee on speed, and then ends up getting dragged away by the local constabulary. A good night all round then!

Meanwhile, Bob is busy working his way through the Mardi Gras band of Gold, repeating the same gore effect ad naseum. At one point, he even makes one naked prossie do a ballet routine in her patterned knickers! After he's watched her 'performance' and probably considered the fact that this particular youngster was two cans short of a six-pack, he feels a tad of sympathy and tells her to get out of his house. She almost becomes the one that got away, but at the last moment, he changes his mind and she ends up becoming just another hokey gore effect to add to the collection. Next we finally learn the true motives for this sacrificial killing spree. Apparently, he offers the victims to an Aztec goddess in order to receive God-like powers, which brought me to the conclusion that he possesses all these super human abilities, but acting is still something that he hasn't quite got to grips with. The festival comes around and if you hadn't already guessed, Dirty Harry ends up chasing the Aztec warrior through the carnival, while passers-by stare blankly into the camera, completely unaware that they were unpaid extras in the biggest pile of crapola that was released during horror's heyday! Does the lawman prevent any reoccurrences or sequels from emerging years down the line? Well now, that would be telling, wouldn't it!

On the surface at least, Mardi Gras Massacre offers everything the fans of exploitation find so immensely appealing. Graphic gore, excessive nudity, a masked maniac and the added bonus of a 'video-nasty' disqualification, - it's all here for the taking baby! But scratch beneath that glossy veneer and what you're left with is a vial of puss-drenched slumraderie that is so abysmal it defies description. Now I'm the last one to stand up for political correctness, and often I wonder how stringent our ancestors will be forced to live their day to day lives in years to come. But MGM is so shamefully misogynistic that if it were released today, I'm sure it would cause women's rights activists to bend over backwards in disgust. The lowlights of all this misogyny include: A heavy-handed detective with a fetish for prossies, a maniac that would rather spend his spare time disembowelling them, a lowlife hooker as the film's female protagonist. Come to think of it, every Woman in the damn thing was classed as either a) a dishonest slapper or b) an under achiever worthy only of an autopsy by dagger! Does anyone get the feeling that Jack Weiss had something deep-rooted against the fairer sex of the species? Hmmm indeed. The only thing that's really worth mentioning about this stinker is the fact that it tries to include everything that was in demand around the mid to late seventies. There's disco music and THAT hilarious scene to tickle fans of Saturday Night Fever; the grizzled Dirty Harry I told ya about earlier; and of course the satanic references to stay in vogue with The Omen et al. But Weiss is such a shamelessly poor director, that he fails to make use of any of the clichés that he steals, and to be honest, I was a little more than surprised to learn that this managed to grab even the smallest deal for world-wide distribution.

There really are not too many words in the dictionary that I could use to describe the contents of this 90 minutes snooze-marathon. Well actually, I can think of a couple: appalling, tragic, nonsensical, stupid, long-winded and above all boring - take your pick from the list. If heinous acting, a soundtrack straight from a seventies porno and a director that must've been absent from the entire shoot add up to your idea of a great movie, then there's no doubt that Mardi Gras Massacre will rock your world. But if like me, you value your movie-viewing experiences, leave this one nestling in the suburbs of obscurity until the end of time. It really doesn't deserve to be kept anywhere else.

Yet another video nasty. Yet another laugh-riot. Before I actually saw many of the films on the DPP list, I, somewhat misguidedly, thought that they would be shameless atrocities full of shocking violence and depravity. I know better now. A significant number of them are unintentional comedies. And Mardi Gras Massacre is a perfect example.

The story concerns a madman who picks up prostitutes and ritually slaughters them in his bachelor pad. He's pursued by a couple of hopeless cops. The Mardi Gras goes on in the background.

This film is spectacularly badly made. The acting and especially the exposition scenes are of a pornographic standard. Although, the killer, played by an English bloke, is very very amusing. He is fond of overly dramatic pauses, such as 'are you......................evil?'. The dialogue in the movie in general is atrocious in a gloriously stupid way. In fact, so is the editing. Scenes cut into each other suddenly and jarringly but, again, this only adds to the fun. As does the music. It varies from the type of music you would expect to hear in a porno, funky disco, avant-garde noise and the bass-heavy proto-house that accompanies the murders. In other words technically and artistically, this film is a mess, albeit enjoyably so.

The murder scenes are all identical. They're not particularly convincing but nevertheless crude and sleazy; pretty obvious video nasty material. And the aforementioned music that accompanies them is, in fairness, pretty much effective. Less effective but brilliantly rubbish is the love-montage scene where our detective and prozzie stroll around New Orleans - it's an utter cheese-fest of the first order. The cops in these kind of movies are usually pretty ineffective - let's face it, if they did their jobs properly we wouldn't have much of a movie - however, the police in Mardi Gras Massacre are biscuit-taking in their ineptitude. They are absolutely hopeless.

A similar thing could be said of this movie but I'm not going to because I found it way too enjoyable. This is proper Z-Grade film-making. They really don't make them like this any more. There was a peculiar type of slightly out-of-order sleazy-violent horror film that was made in the 70's and early 80's. And this is a good example. It's terrible but good. If you like unintentionally funny bad movies with a dash of sleazy violence then really I have to recommend this to you; to do otherwise would be.................evil.