Bad Acting and worse Bad Screenplay

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

An abhorrently orgasmic ejaculate of short films, Little Deaths is a ghastly, decadently exploitative spunkfest of misogyny and misandry. Harnessing obtuse pontification in sexual gratification, ergo an inevitable ruckus with the BBFC, the tawdry trio unrelentingly goad us with all amounts of bodily fluids in ode to the anniversaric copulation of Horror's bride and groom: Sex and Death. Best of three'House and home': A cult of personalities - the homeless and the upper class compete in a tete a tete. Bland at first and hugely predictable, yet filled with sorrow. 5/10'Mutant': Nazi experiments, grafted giant cocks, blended kidneys and a nostalgic hint of thalidomide. Yep. 6/10'Bitch': Vengeance is a dish best served in a dog bowl. The mightily poetic MTV finale will scorn the imagination. 9/10 Submissive, alienated and emasculated: the stereotypes of the traditionally hegemonic patriarchal society are explicitly smashed to smithereens. The revised totalitarianism demarcated is a world in which women not only rule, but where men are reduced to nothing but breadwinning toys or abused pets. Owing much to the anti-authoritarian exploitation films of the 70's, notably Russ Meyer and John Waters, horrors 'final girl' becomes the 'final boy'. A perversion in postmodernity, all three segments are triumphantly difficult to visually consume. For their daring vulgarity and literal buckets of bodily stew (mostly semen), the consequential subordination of context is marginally excessive. The seeded theme of compulsion via addictions and obsessions manifested to restrain partnerships in all vile states of toxicity - physical, sexual and emotional - relays an equally visceral reply in its counteract. The literal sex=death rhetoric is quintessentially satiric, a fervent leaf from the episodic 'Creepshow' tales, ending on a righteous or incredulous note. Though there is much to celebrate in its art-house attire, the niggling question still resides: did its visionaries go too far to give too little? For the first two instalments there is an unbalanced focus on crossing boundaries, in it purest form merely because they could. The third ('Bitch') is the piece de resistance, it's pedigree refined by a role reversal in rape-revenge. Urine, vomit and man-gravy galore, be prepared for the candid unpleasantries in store.

Films which face head on themes of fetishism, masochism and fear have the potential to move an audience to a place where they would not expect to go, even with the knowledge that they are about to watch a film about the darkest corners of humanity. La petite mort, the French idiom, refers to a calmness or melancholia surrounding the orgasm, but it does also refer to the orgasm in general and so the misnomic nature of the film can be forgiven. All three are fast, intense and short explorations of sexuality with barely any pace below frantic and very little concept of transcendence, the very meaning of the phrase "little deaths". Every orgasm we witness: the rape, the post-pub lust and indeed the post-poor-sex vibrator-induced are cheap, quick thrills. Episode two, perhaps, could be excluded from this issue when a character describes the strange constant-orgasm state as being "not human", but equally it's not really about an orgasm at all, not as we know them. If episode two is analysing what a "little death" is, it is creating something non-human which renders it, although fascinating to watch, defunct.The horror genre has the uncanny ability to disgust and deeply affect a viewer, and the only thing we ask in return is that it doesn't make fun of us, by drawing us to invest ourselves emotionally in the film and then being half-hearted with the storytelling. With Little Deaths, the half-heartedness is in the overselling of the idea. There was no effort to create empathy away from the bedroom-nature of the characters which basically renders the film no more than porn minus explicicity.Furthermore themes of drug use, prostitution, and bondage and discipline, dominance/submission, and sadomasochism are all problematic. It feels as though the filmmakers are telling stories on these subjects because they want to and not because they themselves are invested in the activities. Dialogue regarding the drug use and prostitution in episode two does not read naturally and detracts from what is designed to be a naturalistic film. More serious, though, is the motivation for the male lead's breakdown at the end of episode three. The filmmaker spends a great deal of effort in establishing that the sexual relationship is of bold and exploratory deviancy, and that the relationship between the two is one of a deep, and necessary, trust. With the line "I don't deserve you" and the subsequent reply, this trust is strongly established. There is no foreshadowing of the finale but for the use of dog-imagery and the main inciting incident is one which would, in a relationship such as theirs, not cause such a great stir but simply cause discussion and a break up, considering that there was little attempt to stop it at the time. Either there was a lot more hate felt for the female lead by the male lead, which we are not told about, or the narrative makes fun of the Dominant and submissive relationship by devaluing it.The performances from the actors were strong and very well directed, which adds value to each story and ensures that we do feel empathy with each, and the cinematography was at times magical. Unfortunately it is difficult to maintain a relationship with this film and its characters, however aesthetically strong and empathetic, when there are such issues with its very core.

I've always liked horror compendiums going back to the glory days of Vault of Horror or even Dr Terror's House of Horrors, so I snapped this up when I saw it.I'd never heard of this before and presumed it was some low-budget American movie but it's actually British.Unlike the aforementioned movies, there doesn't seem to be any connection between the three stories. Well other than that they are loaded with sex and gore.People in posts I've read seem to dislike the first two stories.The first is basically *spoilers I guess as I'm about to discuss the storyline* about a twisted posh couple who get their kicks drugging and abusing homeless girls.The ending is pretty left-field but what made it for me was the nasty, aggressive wife.The actress clearly relished the part and she was a joy to watch.And I think that's a point I should make - the acting throughout is pretty impressive without exception. And that really is saying something.Especially as the only guy I recognised was an actor in the second story, which is a genuinely bizarre tale, where it's never entirely clear what's going on. And I mean that in a positive way - it's genuinely unsettling.The third tale - Bitch - has dark s and m-y themes running through it - come to think of it all three tales have people being tied up.Anyway, don't want to give anything else away.Check this out - it's an undiscovered treat.

When I saw the DVD at the shop I never heard or seen any review of it. But reading what was written on the back I bought it and I must say, I didn't regret it. It's a combination of 3 short stories directed by the writer of "Summer's Blood" for example. And were Summer's Blood was low on anything these 3 stories really deliver on weirdness and gore. The first part is the bloodiest one. Part 1 and 2 couldn't really happen but still they deliver the horror you are waiting for. The directors never shade away to show it all, red stuff, blood, and a lot of nudity. The first story as I said is for me the best part, definitely not for the squeamish, the second story is all about experiments done by Nazis and the last part is something weird but the score is so great. All stories have something on their own, one to watch...