What compels him to commit these atrocities is: the fact that he’s incredibly misogynistic (“It's ironic. He photographs attractive, purebred American sluts for a living then kills them after work, leaving tons of incriminating evidence at every crime scene. The dumb-as-dirt characterization of the villain, which makes Ulli Lommel’s and Bill Zebub’s serial-killer-themed exploits seem deep and insightful in comparison, the retarded dialogues (“I gotta shoot some girls tonight.”), the embarrassingly wooden acting, and the glaring lack of a dramatic structure are all pure video underground, the place where Palumbo crawled from (see Nutbag, his debut).Ī German photographer (Garett) hates America with a passion, yet lives in Las Vegas, and resents his mommy for being a common whore. Let me assure you that good production values and quality splatter FX (plenty of it!) are the only two things that separate it from, let’s say, The Great American Snuff Film.
It could also be argued that with a budget of 2,000,000 USD, the amount of publicity received, and the fact that director Nick Palumbo managed to shoot on 35mm film stock, MSP could hardly be considered “underground”. In fact, it could be argued that MSP’s fate of being picked up by Lionsgate and released theatrically on an international scale (as a limited NC-17 release in the US and mostly for festival showings in Europe), was a sure sign of the dawning extremization of mainstream tastes.
One of the last underground torture horror films released before the subgenre became mainstream with the Saw sequels and Hostel.
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