We had four films lined up on our Historically Inaccurate Movie smörgåsbord. The following reviews were aided by live tweets, snappy one-liners and heaps of sugar. This is a bit of a long read, my apologies in advance!
The first order of business was Wrath of the Titans, the sequel to the 2010 mythological disappointment Clash of the Titans. Basically, Perseus is charged with rescuing his father, Zeus, from Hades and Ares. Hades is killing his brothers to channel their divine power into resurrecting the Titan Kronos. Perseus must travel to the Underworld, aided by Andromeda, Hephaestus and some extremely stupid Greek soldiers.
Running time: 99 minutes
Director: Jonathan Liebesman
Inaccuracies vs. The Mythology
- Tartarus is seemingly in the middle of the Underworld vs. “as far below the house of Hades as the earth is below the heavens”
- The house of Hades is made of lava vs. a cold, desolate world surrounded by water (Styx and Oceanus)
- Hades, Poseidon and Zeus are estranged brothers due to Zeus forcing Hades to rule the Underworld vs. Zeus freeing his brothers from Kronos and the brothers drawing lots to determine the realm they will rule
- The gods were able to enter the Underworld vs. nothing still living shall enter the Underworld
- Chimeras had dragon wings vs. lion with the head of a goat, with a tail (possibly ending with a snake head), and breathes fire
- Andromeda was a warrior woman vs. rescued by Perseus, marries him and lives with him at Mycenae
- Perseus was married to Io and had a son named Helios (what the serious fuck?) vs. Perseus marrying Andromeda and having 7 sons and 2 daughters together, while also founding and ruling Mycenae
- Cyclopes were used as guards on Hephaestus’ private island vs. being craftsman and herders
- The origin of the Labyrinth being created by Hephaestus as a gate to the Underworld vs. the Labyrinth built by Daedalus as a prison for the Minotaur at Knossos
- Hephaestus knows the route to the Underworld vs. Hermes being the only god, other than Hades and Persephone, who know the route as he is the one who channels the dead there
- The Minotaur guarding the route to the Underworld vs. Cerberus guarding the gates of the Underworld
- Using Aspis shields for phalanx formation vs. larger, longer shields appropriate for the period
- The Spear of Trium (made of Zeus’s Lightning Bolt, Poseidon’s Trident and Hades’ weird Pitch Fork) being the only weapon that can kill Kronos vs. the gods cannot be killed; there is no such thing as “The Spear of Trium”; the word “Trium” would be Latin, not Greek; Zeus had a Thunderbolt, Poseidon had a Trident and Hades has a Helmet of Invisibility (all used to defeat the Titans)
- Ares’ weapon of choice is a mace vs. a sword, a spear, a shield or even a flaming torch (pick one)
- Four-armed Hekatonkheires vs. one hundred-armed and fifty-headed Hekatonkheires
- Roman and Norse weapons, armour and formations vs. this should not have to be explained
Aside from this film being riddled with historical and mythological inaccuracies, it was also dull. At least they decided to move away from the monochromatic colour scheme of Clash but it was still just another action movie. The CGI already looks dated and the sound balancing made it almost impossible to hear some of the dialogue. Once again, this had close to nothing to do with the actual mythological Titans. Kronos was on screen for all of 15 minutes, maybe.
My rating: 2½/5
Buy or rent Wrath of the Titans on Amazon.
The Legend of Hercules was by far the funniest of the films. Unintentionally so. We found ourselves in hysterics largely due to our inability to hear the dialogue. Unlike, Wrath of the Titans, we were unable to hear anything due to a number of very strong accents among the cast. As a result we decided to fill in our own dialogue.
As the title says, this is the alleged genesis story of the demi-god Hercules.
Running time: 99 minutes
Director: Renny Harlin
Inaccuracies vs. The Mythology
- Amphitryon purposefully killing the King of Tiryns vs. accidentally killing Aclmene‘s father and seeking purification
- Amphitryon’s rejection of Hercules and the murder of Alcmene vs. raising Hercules with the best tutors (many of which were gods) and having a wife that honoured him like no other
- Alcmene turning to the goddess Hera for help vs. Hera hating Zeus’ countless affairs and punishing Hercules by trying to kill him
- Iphicles’ (Hercules’ half-brother) jealousy vs. the brother who died in battle and whose own son became Hercules’ charioteer
- The killing of the Nimean Lion as a chance encounter vs. The Twelve Labours of Hercules as an amends for killing his wife (Megara) and children from a temporary madness caused by Hera
- The source of Hercules’ strength is that he is the son of Zeus vs. Hera’s being tricked into nursing the infant Hercules and her divine milk giving him his power
- Hercules being outcast by his father and sold into slavery by his brother (for gladiatorial games) vs. being raised lovingly be Amphitryon and eventually sold into slavery (not gladiatorial games) by Apollo for the murder of Iphitus at Tiryns
- Hercules’ lover Hebe betrothed to his brother vs. Hebe being Hercules’ sister and no arrangement of her marriage to Iphicles exists
- Alcmene calling Hercules Alcides to hide his true name from Amphitryon vs. his parents dropping the epithet Alcides from his name, to unsuccessfully appease Hera
- Being the origin story of a Greek hero named Hercules vs. his Greek name Herakles
- Roman and Egyptian weapons, armour and formations vs. I shouldn’t have to explain why this is incorrect
- Hercules chained in the Agora vs. this was actually Samson from the bible
- Hercules’ lightning whip vs. his usual club, bow and arrows
Everything about this movie was bad. The lack of clear dialogue, the special effects and terrible acting. The mythology was changed for no tangible betterment of the film. If we had not been half delirious from our sugar rush, I’m not sure we would have been able to finish this monstrosity. I have no idea why Hercules was made into a gladiatorial fighter, other than the filmmakers wanting to show off their 3D filming techniques. The only thing that was correct for the time period was the statues of Hera.
My rating: 1/5
Buy or rent The Legend of Hercules on Amazon.
Truly, the dark horse of the day, Gods of Egypt far surpassed our expectations and was the least offensive when it came to historical and mythological inaccuracies.
Set has essentially stolen the throne of upper and lower Egypt from Horus by killing Osiris. After years of blindness and isolation, Horus accepts the help from a mere mortal in overthrowing his uncle.
Running time: 127 minutes
Director: Alex Proyas
Inaccuracies vs. The Mythology
- Demons in the afterlife vs. that’s not really a thing in Egyptian mythology
- Hathor being seduced by darkness into her role at the usher of the dead vs. being the “mistress of the west” was a great duty revered by mortals
- Hathor being the Egyptian version of Aphrodite vs. Hathor being the goddess of female (motherly, sisterly) love and companionship (Though she was likened to Aphrodite by the Greeks, the Egyptian did not incorporate this into their beliefs)
- Hathor’s bracelet shielding her from being taken back into the Underworld vs. no such item every existed
- Thoth being sassy (though great as comic relief) vs. Thoth being very factual and precise
- Hathor’s ability to control any living creature with her eyes vs. not present in any versions of her mythology
- Isis dying with Osiris, and not once turning into a throne vs. only Osiris’s death is mythologically correct
- A largely white cast of Egyptian gods vs. this should be obvious
This was an interesting stylistic version of Egypt and its mythology. The list of inaccuracies is substantially smaller the previous movies because the filmmakers made it very clear that this is meant to be an almost alternate history. Having said that, the individual gods mythologies and their purposes were largely adhered to, except Hathor, which is the problem with her characterisation. I understand her narrative changing for purposes of the plot but it was unnecessary on the whole. James and I absolutely loved the characterisation and styling of Anubis, and that he was not depicted as an evil or negative god/deity. Similarly, the idea of the rich being granted everlasting life was a fantastic inclusion as at one point in Egyptian history this was thought to be the case. Ra and his celestial battle with Apep was stunningly represented, as well as the world disc. One of my favourite entities was the Sphinx.
It was a fun movie to watch, and it clearly had an enormous budget. The CGI was great and I especially like the gods’ “true forms”, even though everything was gold. The casting was great, as the actor are all good actors, except Elodie Yung. She was just annoying. It annoyed me that the only black actor was automatically the sassy, black character. It was cliched and tired. I would have liked to see more people of colour in this movie but that’s an issue for another day. All-in-all though, this was a fun watch, from an historical, mythological and film perspective.
My rating: 4/5
Buy or rent Gods of Egypt on Amazon.
In keeping with the Egyptian theme, we decided to round our day off with Exodus: Gods and Kings. What a complete crock of shit.
Let me also just get this bit of controversy out of the way before I start: there is no record (other than the bible) or archaeological evidence that 2 million Jews (based on the figure of 600 000 males) left Egypt during that time depicted in the bible. For this reason, I am referring to the story as mythology. It still holds important cultural and religious meaning, just as any other peoples’ mythologies do.
Running time: 150 minutes
Director: Ridley Scott
Inaccuracies vs. The Mythology
- White buildings and statues in Egypt vs. Walls and statuary being colourfully painted
- Miriam and Jochebed living with Moses in the palace, as his servants vs. Moses raised by the Pharaoh’s daughter
- Moses hitting his head on a rock and then talking to a child and a burning bush vs. Moses’ tending a flock and hearing a voice call to him, finding the burning bush and speaking with the angel
- The God of Abraham represent by Malak in the form of a child beside the bush vs. an angel of the Lord appearing inside the burning bush to speak to Moses
- The cause, number and order of the plagues (no lice and no raining fire) vs. ten plagues in order caused by the Lord, who was making Pharaoh refuse to let the Israelites go
- No negotiation with Pharaoh vs. Moses asking Pharaoh to let his people go each day
- No snake vs. Aaron taking instruction from the Lord and casting his staff onto the ground in front of Pharaoh and his men, and it turning into a snake
- The Red Sea moving aside for the wayward travelers, while Moses slept vs. Moses parting the Red Sea with the help of the Lord
This was a boring movie to watch. Epic in scale and as shiny as Gods of Egypt the movie felt empty, slow and lacklustre. The changes to the biblical account of the Exodus worked against the film. In fact, Ridley Scott made it seem like the entire Exodus was the result of a Traumatic Brain Injury or severe hallucinations. I also couldn’t understand why this weird blue filter was used for the entire film. When everything wasn’t blue, it was gold. Fundamental elements of the story was changed for the film, like the absence of Aaron (Moses’ brother) in negotiations with Pharaoh and Moses’ sister and mother living in the palace with him. Further, I haven’t a clue as to why it was sub-titled “Gods and Kings”. The “Kings” I get but the “Gods” not so much. I saw one angry child, who alternated between representing the Lord and the angel Malak, while the Egyptian gods were nowhere to be seen. I will say that Isaac Andrews gave a spectacular performance. That kid is going places. Other than that, there is no real reason to watch this movie.
My rating: 2/5
Buy Exodus: Gods and Kings on Amazon.
And that was our Historically Inaccurate Movie day. Many people will argue that mythologies cannot be incorrect as they are just made up stories anyway. What many people do not realise is that to the civilisations to whom those mythologies belong, they were considered historical accounts of the foundations of their civilisation and empire (Rome – Romulus and Remus), they were biographies of, then considered, historical figures (Herakles and Achilles), they were often the basis for religious practice (The Elusinian Mysteries), and the creation stories of their time (Gaia and Oceanus – Greek, and Nun and Chaos – Egypt), meaning that they can only be altered within reason.
For more movie reviews by TropicalMary, click here.
WHAT IT’S ABOUT:
If I’m being totally honest, after AE: Apocalypse Earth, I was feeling a little fragile. My inner sci-fi geek can take a lot, but that movie gave me a fair beating. Nevertheless, I’m not one to turn down an epic mockbuster, and Atlantic Rim was just too great an opportunity to pass up. So, with Tropical Mary, Stygian Mole, The Occult Specialist, and our new friend Ms Misery in attendance, we sat down to watch this movie. My my my my my. I don’t know anything about Pacific Rim, so this movie had to sell me with only what it had to offer. What might that be, you ask? Well, it has the usual terrible CGI, atrocious acting and cheap sets that one would expect from an Asylum production, but it also has some of the most ADD-ridden editing I’ve ever seen in a film. I know it’s sci-fi, but good God not everything can teleport that quickly! Needless to say, though, this movie is a ton of fun, although I would recommend watching it on the tail-end of a movie night so you have the benefit of mild delirium to cover up some of its not-so-great moments.
Deep at the bottom of the Atlantic ocean lurks one of mankind’s greatest threats: giant amphibious dinosaurs with backwards knees! No seriously, how these things can walk is a marvel in itself. No one knows where they’ve come from or how they’ve managed to survive down there for so long without any of us noticing, but they’re about to start wreaking all kinds of havoc. The first sign of their existence that we experience is when one of them, with no provocation and unknown intent, leaps up from the sea floor to destroy an oil rig. Apart from a quick and somewhat greasy lunch we don’t know why they are suddenly deciding to attack now, and no one back on land knows what happened to the oil rig / ate its crew, so it’s up to the military to fall back on some half-baked, untested battle plan to solve this maritime mystery.
The plan? Send 3 gigantic robots worth $500 billion down to the ocean floor to see where the hell the oil rig went and what the hell may have dragged it down there. These robots will be piloted by the best pilots the program’s remaining $15 worth of budget could find. Decked out in what appear to be wetsuits held together by pieces of coloured duct tape, White Douche, Token Black Guy (aka TYREESE!) and Generic Blonde descend to the bottom of the Atlantic to check things out. The mission is plagued with problems – the control room in the bots becomes sweltering after descending more than 3 feet into the ocean, they’re controlled using what appears to be joysticks from old arcade machines, and they tend to shut down at random (this, for some reason, also sucks all of the available oxygen out of the robot’s interior), so it’s all rather slow going. Oh yeah, and there’s that giant monster floating in the background trying to eat them.
The violence quickly escalates from this point – the monster appears on land, we’re treated to half-a-dozen shots of the monster looped and mirrored maybe 20 times, and suddenly there are dead people everywhere. Why? We’re not really sure. Now, it becomes obvious that the American Government can’t just allow these beasts to run around Manhattan, but the team’s divided. Admiral Hadley, the head of some-or-other division, throws his full support behind the robots. The opposing faction, headed up by a man with an eye-patch whose speech patterns clearly indicate that he has recently recovered from a stroke, proposes nuking the monsters (although the word, when he says it, ranges anywhere from ‘puke the monsters’ to ‘fluke the monsters’). With these two factions at war, Generic Blonde and TYREESE! being innately useless, White Douche being super douchey, and the robots themselves leaving a bit to be desired, does mankind really stand a chance against these backward-kneed behemoths? Watch and be completely whelmed by the whole experience!
LIFE’S LESSONS LEARNED:
- It is possible for oil rigs to become dislodged from their bases, float around in the ocean, and crash into Iraq.
- You should always wear self-tan to a review board meeting.
- The best mankind-protecting-robot is one that’s commanded by someone with a lot of experience in Tae Bo.
- Every secret military base should be equipped with at least 100 horns.
- The more squint the monster, the greater the threat it poses to us all.
- No matter what the emergency, a woman’s eye-shadow should always be unfaltering.
- Nothing says ‘time for a drink’ more than blowing up $500 billion worth of military equipment.
ATLANTIC RIM TRAILER
WHAT IT’S ABOUT:
Good God I love movies that fail as epically as this one did! Rarely does one find a movie that attempts to mash together as many genres as The Collapsed did, but in its attempt to be a horror-thriller-drama-sci-fi-mystery ultimate combo, it proved that it couldn’t pull even one of those elements off. I’m not a movie snob (as this site will well attest to), but I do believe that if you’re going to make an end of the world movie, you can only really go one of two ways: option one is to have a big budget so you can make it really convincing or, option two, you make it cheesy enough to distract the audience from the lack of budget. Here, The Collapsed does it wrong again: it wants to be a very serious end of the world movie, but with no budget for the necessary mayhem and destruction. Couple all of this with several attempts on behalf of the director to make the film look artsy and all you’re left with are 82 minutes of unrelenting pain and mind-numbing boredom.
So it’s the end of the world; how it’s the end of the world you’re never going to find out, but ‘the government’, ‘conspiracy’, ‘weapons we’ve never even heard of’ and ‘the horror’ are all phrases being thrown around by survivors of this invisible apocalypse. Our story follows dad Scott, mom Emily, and siblings Aaron and Rebecca as they attempt to find safety and supplies in amongst the few apartment fires and the occasional cannibal that are ravaging their generic movie city. Dad has the strangest accent I’ve ever heard come out of a human being (although I imagine it’s quite similar to how a Swedish person imitating a Canadian accent would sound), but despite this inherent flaw in his being he’s decided that the only way he’s gonna keep his family alive is to make a break for the wilderness. Because nothing bad ever happens when you run off into the woods in a horror movie.
Getting to the wilderness, however, is going to require that the family does a little road trip. This is set up in such a way that it’s as painful to watch as it would be to do an actual road trip with your own family. Thrown in for not-so-good measure is a half-baked plot point about Scott and Emily’s other son, who apparently has gone missing. He’ll be thrown into conversation every now and then, but since we never see him it doesn’t really matter. Along the way the family discovers an abandoned little shop and decide to stop in and pick up some supplies; this is when things start to go very badly for them. While they’re doing a little shopping and Mom’s taking a bath in a sink, a group of heavily armed men wearing gas masks arrive as well. Making a very slow and blundering escape, the group makes for the surrounding woods, hoping it will provide them with a little safety and respite.
Naturally, the woods offer no protection whatsoever. Our family is still pursued by various groups of crazies, supplies are running low, and there are strange sounds and voices coming from the trees. To judge by the musical score, they’re also being relentlessly pursued by a group of poorly trained trumpeters and cellists, but that’s a separate issue entirely. As members of the family are slowly picked off by the different forces out to get them, Swedish-Canadian Dad needs to think of the best way to keep what remains of his family alive until they can escape this wilderness and find the supposedly safer wilderness he has in mind. Of course, not all enemies out to get you are necessarily mortal with a corporeal form…
LIFE’S LESSONS LEARNED:
- Just because it’s the end of the world, it doesn’t mean we can’t have manners.
- Just because it’s the end of the world, it doesn’t mean that feminine hygiene should be any less of a priority.
- Just because it’s the end of the world, it doesn’t mean the risks of teenage smoking should be taken any less seriously.
- Just because it’s the end of the world, it doesn’t mean that grave-digging techniques should suffer.
- Just because it’s the end of the world, it doesn’t mean we can’t appreciate an old-fashioned rifle that doesn’t blow up in your hand.
- Just because it’s the end of the world, it doesn’t mean that revenge still isn’t a dish best served cold.
THE COLLAPSED TRAILER
BUY THE COLLAPSED AT AMAZON.COM
WHAT IT’S ABOUT:
The time has come for another episode of Historically Inaccurate Movie Night with Tropical Mary. We’ve done quite a few of them already, but we always had a special love for Cyclops, the movie that started this particular little adventure of ours. Nothing’s beaten Cyclops yet in terms of sheer laughs and total disregard for any semblance of historical truth, but this came pretty close! I don’t know much about Sinbad, but if we were to take the accuracy of the Minotaur’s portrayal as a guide, I’m gonna guess that they got his character completely wrong as well.
In a very loose sense Sinbad and the Minotaur follows Sinbad as he tries to locate the lost treasures of King Minos. There’s a minotaur, a sorcerer, a cannibal and various horned zombies thrown in to pad out the action, but not in any serious way that’s gonna make truck loads of sense. When all is said and done, though, it’s a barrel full of laughs if you’re in the mood for some mindless entertainment. As I did with The ImmortalsI present to you the polluted stream of consciousness that flowed during the course of this movie, followed by a fun little exercise Tropical Mary and I did in transliterating the Greek text in the movie 🙂
- America World Pictures and the Brothers Bradley present… Manu Bennett.
- This female is skilled in the deceptive art of stripper belly dancing.
- The Seven Wonders of the World before there were Seven Wonders of the World…
- And he’ll beat the crap out of you with the pepper grinder of doom!
- Make way for Emperor Trenchcoat Terry!
- Use the magic mist to escape!
- I have no idea what’s going on, but apparently it has something to do with a coke whore called Germaine.
- Now they have to go to the gates of the rash. Things are about to get nasty.
- Ancient Greek spoken by the whole Tourette’s of the world.
- Does anyone in this movie speak English?
- Quickly! Don the see-through harem pants of escaping!
- Everyone’s been at sea and now they’re bitter and blue-balled.
- Quickly men! Gather your ancient sporks and do battle with the enemy!
- This whole forest is made out of plastic.
- I totally promise this is a real cave. It looks like plastic bags held together by used chewing gum, but it really isn’t.
- I wonder if Harry Potter’s dad inherited his invisibility cloak from Sinbad?
- Reptilian Minotaur! I command thee to stand sloppy or get loosen!
- Something about Cinnabon’s adventures on the Seven Seas.
- The Dannii Minogue / Natalie Imbruglia look-alike is either plotting something spectacular, or her next album.
- By the blood of Pythagoras, if anyone here owns a MILF, kill them!
- What draconian laws these people have.
- Wait, if only the MILF owners are being killed, what happens to the MILFs?
- Welcome to a very special episode of Law and Order: Ancient Edition.
- How did Helios, the sun god, father a giant scaly minotaur?
- Hang on, how is this minotaur any different to a regular old bull?
- Helios the All Father? Got some Scandinavian leakage going on here…
- This girl’s really clever – she’s actually a raptor.
- He is the Lord of the Dance said he and he’ll lead you all wherever you may be.
- So the Minotaur is the god of the mountain named Monkey?
- You’d think the Colossus of Rhodes would be… more colossal.
- The High Priestess of the Minotaur is super high.
- A prophylactic like that must be worth something.
A big part of the movie’s plot revolved around Sinbad’s discovery of an ancient text written by King Minos. For such an ancient text it’s been typed out in beautiful Arial Greek font. Now, Tropical Mary’s Ancient Greek is far superior to my own, but I can read the alphabet, and we had a great time transliterating the text that popped up on-screen. To give you an idea of just how archaic the language is, the scroll reads:
espskssss kssiphgsb s hste oite uksooe ou zdksthtksieeph ksopsephbks chti thdrzd szdepsch.
Bet the guys behind the movie weren’t betting on people like us watching it 🙂 That’s Greek as spoken by a two-year old with a forked tongue.
SINBAD AND THE MINOTAUR TRAILER
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WHAT IT’S ABOUT:
As any semi-regular visitor to this blog will know, I’m up for pretty much anything. Extraterrestrial vampire whores, sharktopodes, gay vampires, killer cartoon characters, shit monsters (no really – monsters made out of shit), I’ve seen it all and lived to tell the tale. Even with this experience under my belt, rarely have I encountered a movie as utterly banal as House of Blood (aka Chain Reaction). As often happens I could totally see what they were going for (a kind of The Village meets Triangle meets The Shawshank Redemption kind of vibe), but it was so poorly and unoriginally put together that all you’re left with is this steaming pile of self-righteous movie filled with characters fond of using big words but having no idea what they actually mean. Also, it’s a bit longer than your usual crapfest: at just over 100 minutes, it drags the pain out a lot more than most movies would dare to do.
Douglas Madsen is just a regular doctor who frequently laments the loss of his parents roughly 50 years ago when he was but a wee lad. That is until one day when Fate decides to throw him a curve ball and Douglas lands up with a set of completely different, but somehow interlinked, problems. Going out on his rounds (in a densely wooded area with no people) Douglas finds his car plowing head first into a truck transporting criminals to another prison. After a small shoot out and the brutal death of several policemen the criminals abduct Douglas, thinking that he might be useful in treating one of their own who has been shot. The criminals steal the dead policemen’s clothes and run into the forest to make their escape. Why they didn’t just POSE as policemen in the outfits I don’t understand, but this seems to be the path the director wanted to take.
When the criminals went down to the woods that day they didn’t realise they were in for a big surprise. They thought that the rundown, seemingly abandoned cottage in the middle of the forest with no electricity and hidden by a dense and mysterious fog would be their salvation; shockingly, it wasn’t. In this cozy little cottage that would’ve sent Goldilocks running for her life lives a quaint little family that speaks a dialect of Ye Olde English that would irritate the most hardened of Renaissance Fair goers. Despite the obvious language barrier between the residents’ archaic tongue and the criminals’ constant screams of “shut the fuck up!”, with a little persuasion (at gun point) the family can be rather hospitable and agree, under duress, to help the guys out with their wounded friend.
Alas, all is not as it seems with the mountain-dwelling family. It’s all been perfectly civilised up until one of the criminal’s has to have his arm amputated with a machete. Things go a little awry at this point. In a move that I’m putting down to sheer indecisiveness from the script writers, the family turns out to be a group of undead-zombie-vampire-cannibals, who Douglas has to escape from. This might have been tolerable, but the joke is that this is only half the movie. Douglas does escape, only to find himself in some bizarre loop of consciousness, and the movie decides to repeat itself. The second time around he’s accompanied by a different group of criminals, but it’s essentially just watching the same movie twice with a little tweaking here and there. In summary: no acting skills, no English language proficiency, no shame.
LIFE’S LESSONS LEARNED:
- Being shot in the arm usually means that the whole thing has to be amputated.
- ‘Friendly fire’ refers to friends getting together to gun down policemen.
- Statistically there is a one in a billion chance of a doctor crashing into a prisoner transit van.
- Sheep remain remarkably calm whilst you slit their throats with a blunt knife.
- To hell with salt – pour blood over your food, it’s just as tasty.
- You should live your life in such a way that the Count de Sade himself would envy you.
- Sociopathic lusts greatly outweigh psychopathic social obligations.
BUY HOUSE OF BLOOD AT AMAZON.COM