Review by Paul Cooke
Director: Brian Clement Starring: Claire Westby , Alison Therriault , Stephan Eng , Terra Thomsen , Rob Nesbitt , Chuck Depape , Dustan Roberts , Dave Krawchuck , Jeannine Dumont , Paul Pedrosa , Teresa Simon , Chelsey Arentsen & Cam Pipes Source : NTSC VHS VideoWith an opening homage to Lucio Fulci’s , ‘Zombie Flesh Eaters’, Director Brian Clement pays acknowledged kudos with a personal touch of fun. Capturing the right tone for a round the television gathering for gore hounds to the cry of , ‘The film can start now , tell the others’. The creation of a literal Hell on Earth through the very well used backdrop of a decimated wasteland , replete with dilapidated buildings , is both stylish and realistic in context with the films setting.
Slush puppy slurping blood sounds abound , and an eerie background wind whistles to the ambience of the created atmosphere. A genuinely perturbing setting is achieved. Surviving cast members from the original movie , Argenta and the Vampiric Nemesis , are still wondering the ravaged locality.This time they are accompanied by the eye patch wearing male companion Ferriden. The non returning Shahrokh is a loss but considering his state of health at the end of ‘Meat Market’ his omission is not unsurprising. Ferriden is more than fittingly moulded from the same die cast.
Armed with cross bows and side arms the seekers of the living , and survivors of the dead , rescue a seemingly distressed young woman. She is seen fending off one of the un-dead , and the hapless flesh seeker meets with glorious demise. The woman tells her saviours of a central city safe haven and duly leads them to the sanctuary , only to then betray their trust as she leads them into a trap. The environmental holding is an experimentation camp reminiscent to that of the Nazis. Humans are segmented according to worth whilst outside the high perimeter fence the Zombie hordes hungrily wait for feeding time. With Argenta picked out for indoctrination into the Aryan sect , and Ferriden dragged off for experimentation , the unsuspecting quarantine guards shoot to kill Nemesis along with some others. Her body is carted off to the bizarre Doctor Hubbard , a man with an experimental aptitude for necrophilia.
Under the guise of a federal organisation the colony leader , known as Bill , has a fulfilment policy to repopulate the United States. Whilst Bill has more than a passing resemblance to the conglomerate head of Microsoft , hiding behind his desk whilst all around him do his bidding , the scenes of men in white suits and face masks is wonderfully reminiscent of the Luigi Cozzi explosive gore outing ‘Alien Contamination’. The underlying tongue in cheek application in taking a pop at the crazy cult and power fuelled figures , the likes of reverend Jim Jones , is gloriously achieved. Director Brian Clement wryly exacts a vicarious retribution that many of us would gleefully revel in. If the unison here of Bill and Doctor Hubbard were transposed to the real world , of implied Gates and L. Ron , then all the microchips and scientology salad tossed together would not a perfect meal make.
As Doctor Gehlen carries out his ‘Ilsa She Wolf Of The SS’ maniacal skin grafts on the drugged Ferriden , Nemesis’ Vampire genes bring her back to a conscious state. Moments before Doctor Hubbard plays the sexual xylophone on a skull , boner to bone , having earlier lathered an offal tray as an entrée. Nemesis strikes out in bloody retribution in what is a confident reprisal true to the character immortalised by Alison Therriauld , looking as sexy as any blood starved Vampiress has whilst tantalisingly licking the red stuff evocatively from her lips. In the action packed final quarter the movie delivers the goods in a gory display of Zombie and human carnage , as the facility becomes overrun with the living dead.
With Ferriden freeing the incarcerated Zombies from within , as he struggles with Doctor Gehlen , both Nemesis and Argenta kit themselves up as death dealing dolls of destruction. The sight of them shooting their way to freedom is in itself an emancipating viewing experience. The amount of effort put into delivering this low cost , high value , independent production is evident , and even more so with a behind the scenes extra programme which plays out after the closing credits. With a fan loving collaboration helmed by Brian Clement it will come as no surprise that the fun element of the first outing is retained , along with solid performances from a predominantly amateur actor base. Credit to all concerned in complementing the original movie , which is conceivably the more satisfying of the two films when viewed together , due only perhaps to the more claustrophobic and surprising nature of the piece.
The effects team have notched up a winning formula with the gore and makeup , which goes beyond that of its predecessor. The entertainment value is still there and no more so than when Mexican Wrestler El Diablo makes a very welcome cameo , encapsulating that very special Wrestle Mania Moment.
Update from Frontline Films is that ‘Meat Market 3’ is in Post Production.
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