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Virgin Genocide - Sean Weathers Print E-mail
User Rating: / 2
Written by Jay Creepy   
Monday, 18 February 2019
Severed Cinema review of Virgin Genocide by Sean Weathers


AKA: The Devil's Camera 2

Directed by: Sean Weathers
Written by: Sean Weathers
Produced by: Sean Weathers, Aswad Issa, Louis Moore, Jerry Landi
Cinematography by: Sean Weathers
Special Effects by: Mr Dead
Editing by: Sean Weathers
Cast: Sean Weathers, Elma Bayliss, Mao Hanada, Sini Lindholm, Talisha Lee
Year: 2018
Country: USA
Language: English
Color: Color
Runtime: 57min

You know what I like about Sean Weathers? I like the fact he's perhaps almost the last, if not the last, film creator who could slot quite easily into the 1970s and make films which would play out week after week on drive-ins or in flea-pit cinemas. His movies are sleazy and trash, thus capturing the very essence of ‘70s 'anything could happen' cinema without trying to.

Take The Fappening (see review here) yeah? Strip away the technology in the story and you have a gritty roughie straight out of the beer and piss stained small cinemas. As for Scumbag Hustler it perfectly captured the stench of low down dirty NYC with a lot of sex and violence. Sean makes films I think just so he can hire and fuck a lotta women, ‘cause he always seems to be fucking a lotta women. The man is a genuine workaholic!

“Death comes for us all, and makes us all equal.” states our central deranged character, David Cross (played with gusto by Sean) as he narrates to his hand-held camera that folks will ask why he caused so much pain and suffering. How about the pain he has dealt with? “I am the messenger of death! And I'm comin' for you!”

This time ‘round, the subject at hand is the intensity of stalking, and how so many times a victim has been routinely stalked before being killed as per a poll of homicides. Technology, of course, as stated on screen, plays a huge role nowadays.

Virgin Genocide begins with a brief explanation as to why David becomes this beast, we will see later – his break up with the girl of his dreams, Anastasia, plus we gather he has a very hard time getting with women anyhow. Basically, David meets ladies online and hopes things will work out. Getting ready for his date, he fingers a knife briefly, but decides against it. Oh yes, these moments and the eerie mind prodding musical score lets you know it's likely going to be a long hardcore road into hell, with you, the viewer, tied naked to the bonnet screaming.

His idea of a date is quite original, he arranges to meet, follows his date filming her secretly, and stands nearby recording her impatience and annoyance at him not showing. He sits with her. “Whazzup? Stood up?” She's unaware it's him (he uses a fake profile pic) so leaves. He caresses the glass she drank from.

Soon after he calls her and describes what she was wearing and how he was too shy to approach until he sat down. “Wait! You were the creep with the camera??!!” she (in her bra and panties) is a bit annoyed. “Just be yourself and stop playing games! Arsehole!” she throws her phone down.

“Being myself doesn't work!” he yells from the next room. She spins around in shock. He approaches her, filming all the while, then chokes her and gouges both eyes out, as you do.

“Ladies, if you're going to walk around in your tight skimpy outfits, showing off your long legs and your fat asses, an' your big tits,” he tells the camera, “You're going to taunt and tease men like myself, and then ultimately not give us what we deserve... You're flirting with danger!”

We're back into the twisted mind of David Cross as he freaks out a lady called Shayla and chases her up stair after stair but she locks her door on him, so he retreats home to furiously masturbate over online pictures of her (I mean, he almost tears the bishops head off, I think the roots easily came out!) However, he contacts her online and has his wicked way via a hammer to the skull.

As the movie progresses, David records himself kind of explaining why he has become a monster by sharing memories, etcetera, with many angry and haunting expressions – and there's a great touch throughout as he watches an old film on TV and hears things which are relative to himself which makes him even more enraged until he falls into a seizure.

Afterwards, he has another chat and then sets off with his camera following a lady and goes on to inflict his more gratuitous act yet, including a brutal home invasion.

The pornography has been replaced by gore! Also, Sean gives his character, David, enough time to put over to us his side of things and you do feel sorry for him. He's had such a bad run in life trying to fit in and find love (the tale of Stephanie is a solid hitting one, the girl who is pimped out by her fella and does anything he says until she's passed to David). This really puts a weight of meat on the story, unlike the previous films, which were great, but lacking the humanity this one has. I do think the choice of using a simple piano noted soundtrack brings out the sadness which is obviously a great undercurrent to the tale.

The sex and penetration is non-existent in Virgin Genocide like I said. Sean has mellowed out, or he couldn't do his usual hobbies due to the array of producers. For whatever reason, it isn't missed, and the blood effects which substitute are graphic, if somewhat simple, but better for being. Yeah, VG is still low budget but feels richer and fuller. Why the title? Some of these girls weren't going to be virgins the way they performed, so he isn't committing genocide on that species.

In summary and all that, Virgin Genocide is perhaps Sean's most commercially adaptable film, but definitely his most violent, from what I've seen. There's a chance that his prolonged and lengthy 'confession' scenes will drag some viewers down, but I felt they really accompanied the proceedings right and true. However, like I expected, Sean really cannot generate the energy to construct a good ending. All of his movies fall flat at this point!! To be fair, that's a minor quibble because overall, Virgin Genocide delivers.



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3.22 Copyright (C) 2007 Alain Georgette / Copyright (C) 2006 Frantisek Hliva. All rights reserved."

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