Bloodshock

The original Guinea Pig series from the 80's were more shocking than the American series. They are similar in many ways with hardly no dialogue and over the top gore. I have seen several reviewers compare it with or to Human Centipede 2 maybe for the fact it's black and white. The difference I feel is Centipede 2 could not have been made in color the special FX were too good. This films FX are sub par. With that said I did enjoy it somewhat for what it is. I just can't for the life of me tell you what it was. Some enjoyed the score I found it annoying and tedious. The film overall made no sense and perhaps that's what makes it watchable.

This film was obviously based on the 2009 Horror Exploitation Classic Grotseque. It's literally the same exact princip. However, this movie is overly repetitive and slow. The end scene was the sickest scene dye to it being only colorized, and we see our two victims, having a sexual intercourse, and bite their own wounds, getting into a pool of blood. That was really nasty, everything else dye to being black and white, was kinda boring and dull.

The film was supposed to be a shocker, it was more a creepy movie instead of being really shocking, except the ending, the ending was really dark.

How do you review a film like this? Well, imagine being a hospital patient with "locked in syndrome." This is an illness where, due to a very specific type of stroke, the sufferer finds themself trapped in a body that, while completly devoid of voluntary muscle control, can feel every indignity of a normal person. So imagine that a fly lands on your nose. You are unable to swish it away, but you can feel every little itchy leg as it dances on your shnozz. You cannot ask for help, because you cannot move any of your voluntary muscles including those which control speech.

OK, you get where I'm coming from. Now imagine you took an enourmous painful diarrhea defecation, and had to just sit in it for an hour and a half before your wet-nurse came in to change your adult diaper. That is comparable to what its like to sit through this film. To paraphrase Christopher Walkin, "That isn't any kind of fun. But in terms of what this movie has to offer, that's as good as it's gonna get. And it wont ever get that good again." However, if you wish to ignore my heartfelt advice, and soil your mind with this load of visual fertilizer, the smell of which, will stay with you for a long time, you can watch it free on YouTube at a channel called Kings of Horror.

But don't say you havent been warned!

I was very curious Bloodshock, simply said it's about a man who's locked up in a white room. And every few minutes he gets tortured in all kinds of creative ways, the first half hour was decent but nothing too shocking unless you've never seen the harder stuff. It starts to get interesting after 40 minutes, i thought that for most of the time it was just pure torture for the sake of torture and nothing else, but oke there's a little subplot about another prisoner of which i won't spoil anything. In my opinion the movie was just oke because i expected it to be just as extreme and nauseating as Stephen Biro's Bouquet of Guts and Gore , it never reaches the same level of gore. But Bloodshock does deliver at some moments, especialy near the end. My final point of criticism is that i personally would've rather seen the movie in color, but to each his own. If you like blood and gore just add it to your collection.

Two extremely resilient prisoners, a man (Dan Ellis) and a woman (Lillian McKinney), are subjected to a series of brutal medical procedures by a sadistic doctor.

I've always considered films like this to be challenge—to see if I can stomach the extreme violence being depicted. American Guinea Pig: Bloodshock is a challenge all right—to see if I can watch the whole thing without losing interest.

Bloodshock proves to be an apt title, since I was shocked to see that nearly all of the blood in the film has been captured in glorious black and white! While the gore is graphic (yet nowhere near as relentlessly nasty as its predecessor, Bouquet of Guts and Gore), its effect on the viewer is seriously diminished thanks to a misguided attempt at an art-house style that simply doesn't suit the material. It seems like such a waste of effort.

Director Marcus Koch's art-house approach also leads to interminable scenes that focus on the victims while they are locked in a padded cell, sharing poignant notes with each other through a hole in the wall, all of which serve to make the film a real chore at times. The pretentiousness is ramped up to 11 for the final act in which the two victims, free at last, decide not to escape but to get it on, reopening their wounds whilst having sex. At least that part pulls fewer punches, with the messiness now in full colour.

A final twist—revealed during the end credits—tries to make some sense of what we have seen, but does little to improve matters.