Wonderfully offbeat film!

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Why would a smart and creative guy like Dennis Bartok come up with an embarrassing, insipid, boring, unfunny and revolting piece of pseudo-porn like "Trapped Ashes"?If this is his tribute to "Tales From the Crypt," "Creepshow" and "The Vault of Horror," Bartok has seriously lost his way... and Freddie Francis is probably rolling over in his grave about now. Maybe Bartok should have made that story instead: clueless wannabe screenwriter desecrates legacy of legendary British director of "Tales From the Crypt," causing famed director to rise from dead and turn idiot writer-producer into Hamburger Helper.So why did Bartok do it? Maybe he thought by rounding up a few veteran directors, his picture was in the bag -- no matter how awful the writing was. Or maybe he had an unconscious desire to destroy his chances of ever making it in this business. Hard to say. His therapist is probably the only one who knows for sureBut one thing's for sure: Bartok can kiss his Hollywood career goodbye!

Tales from the Crypt like anthology of a group of people on a studio tour who get trapped in a "psycho" like house and tell ghost stories to escape. Of interest mainly for the directors involved-Joe Dante, Ken Russel, Sean Cunningham, Monte Hellman the film itself is a mixed bag. One story has to do with an actress getting her breasts done, another has to do with a Stanley Kubrick like director and an actor friend, Another has to do with a couple who go to Japan and discover a hanged man and the last has to do with a young woman and her twin..or something. Three of the four stories aren't bad, if over long. One (the girl and her twin) is just fair. The problem is the films don't really add up to much, more so that the sting in each tale is left for the very end of the film where we are told what really happened. Its a weird way to do it, and it almost works, but not quite since any tension from the stories are long gone by the final revelations (There is also a couple of lapses of internal logic as a result of the breaking apart.) Worth a look on a slow Saturday on cable. I do have to say that the Ken Russell "Girl with the Golden Breasts" tale is very amusing and a vast improvement over his direct to video home movies. I especially loved his cameo.

I saw this one at the Midnight Madness screening in Toronto and I have to say I was thoroughly entertained. Before the film the producer mentioned he wanted to bring back an Amicus-style anthology film, which it definitely captures the feeling of, however with a very distinctively Japanese feel (most notably in Sean Cunningham's episode) as well as a twinge of Cronenberg-style body horror.It's great to see Ken Russell back shooting films for the big screen where he belongs and his episode is complete and total obsessive madness where you can tell that he had as much fun making it as I had watching it. Cannibalistic breasts may not be the subtlest of images, but if you go with it you'll have a blast.The next episode is what might possible be the best and most experimental Sean Cunningham film ever made. Combining animation with some rather shocking scenes of necrophilia and traditional Japanese horror imagery, the episode is both surprising and creepy. It's quite bold and radical, entirely different from anything Cunningham has done before.The Monte Hellman episode, that was lauded at Cannes, is a cool change of pace for the film, displaying a deep love of cinema history as well as adding a haunting twist to the mythology of the moving image.And finally, the last episode from newcomer John Gaeta is an extremely well made body horror story that's based on a semi-true story (as we learned from the Midnight Madness Q+A) about a woman's fraternal link with her mother's tapeworm. This is one of the most original and interesting stories of the movie that features great concepts and imagery.The Joe Dante directed wrap around segments are suitably amusing (even get a Dick Miller cameo) and it's fantastic as always to see John Saxon do his thing.Writer and producer Dennis Bartok has been able to round up some of cinema's heroes and give them an opportunity to do something different. His screenplay is very consistent however in retaining a singular and entertaining voice between the different personalities of the directors.This is the kind of film you should just sit back, relax and enjoy as a sometimes subversive, but always quirky trip into the genre. It seethes with pure adoration for the movies, without falling into forced reference-laden in-jokes.I, for one, had a blast watching it.

Anthology films rarely work for me. Most of them are as uneven as twenty miles of bad road. TRAPPED ASHES was yet another bumpy ride.Six people are trapped in a room and must relate terrible things that they've had happen to them to their host (Henry Gibson). What follows are four segments directed by auteurs not necessarily known for their horror chops (with the possible exception of Sean S. Cunningham). Each segment prominently features the ties between sex and death so prevalent in horror films. One features a woman with vampiric breasts whose lamprey mouthed nipples sucks the blood of her lovers. Another woman falls for a corpse who whisks her away to hell while on Japanese holiday. A succubus falls for Stanley Kubrick. And the last, poor woman shares the insatiable hunger of her fraternal twin, a tapeworm.The first segment sets up expectations that TRAPPED ASHES will be a much more lighthearted film. Surprisingly, this segment was directed by Ken Russell though it felt like something from Joe Dante or Paul Bartel (it was especially reminiscent of Irvin Kershner's "Hell Toupee" episode of "Amazing Stories"). The Sean S. Cunningham sequence felt like a pail gaijin aping of Hideo Nakata (THE RING) and John Gaeta's just didn't work at all. I enjoyed the Kubrick bit, courtesy of Monte Hellman - a perennial Cashiers du Cinemart fave - except that the horror element seemed like an afterthought.Surprised that this wasn't called TALES FROM THE CRYPT: TRAPPED ASHES, this is one that can be missed by all except die hard John Saxon fans.