Apr 1, 2018

American Guinea Pig: The Song of Solomon (2018)
Director: Stephen Biro
Writer: Stephen Biro
Stars: Jessica Cameron, Scott Gabbey, David E. McMahon

Review by: Ryan Logsdon

And in her was found the blood of the prophets and of the saints and of all that were slain upon the earth.” -The Apocalypse of St. John The Apostle (18:24)

The Song of Solomon is the third film in the western relaunch of the infamous Guinea Pig video series which were spawned from Asia’s most unique, talented and twisted artists, with each film focusing on a different bloodied chapter in the lives of the seemingly-doomed characters within the framework of each individual construct and the hells that follow in the wake of these sorted slices of entertainment.

Steven Biro, head of the distribution and production company Unearthed Films, offered up to admirers of original Guinea Pig films a reflection of the psuedo-snuff pageantry that dominated the original run of releases from Japan with a directorial debut entitled Bouquet of Guts and Gore. The film, being fully realized and skillfully-bound by utterly brilliant practical effects by the maestro of the macabre Marcus Koch, was hailed by horror critics as one of the most sickening genre efforts of the last twenty years, leaving audiences in utter shock at the terrors showcased within Bouquet of Guts and Gore. Handing directorial control over for the follow-up in the new run of American Guinea Pig films, Biro penned a script that would be shaped by Koch as the director of the newest spectacle of death’s reflection, Bloodshock, and with an amazing crew at hand Koch crafted a medicinal fever dream of a movie that slowly drains viewers of all basic concepts of connection, endurance or any preconceived knowledge of the value of our fleeting existences before the gloriously mad and colorful climax of Bloodshock. Reviewers and fans alike received both efforts positively and with the success of the first two films gaining forward momentum for Unearthed Films and firmly placing the production company at the forefront of post-modern Avant-Gore movement that allows its creators the unique opportunity to practice their craft without restraint to any imaginations behind the camera as well as the actors personifying cruelly entertaining fantasies of obliteration while being bathed in the bloodshed crashing against our inner defenses that protectively shroud our psyche from being purged from our humanity in reflective response to the visions of the suffering of the human animal established in these celluloid monstrosities.

After the critical and commercial success of the first two America Guinea Pig films, Steven Biro and Marcus Koch began to entertain ideas, concepts and outlines for future projects with Biro laying foundations to a dominant construction in his own personal passions that would bridge the tangible world into a spiritual realm. After gathering a charismatic group of performers (including cult icon Jim Vanbebber in a surprisingly subdued yet striking role as an aging Priest and lead actress Jessica Cameron playing the possessed in a stark, striking and provoking performance in which she captures with an uneasy equity both the wrathful nature of her host while at the same time the slight revelation of the woman she once was before her victimization at the claws of beings whom imprison themselves within the young woman’s rotting flesh) Biro and Koch began to unfold a devious story of the demonic possession of a young woman, the souls ordered to exorcise the evil entity from its host and the puppet masters tugging at the strings of each character through their mortality as their next chapter, The Song of Solomon, emerged from the imaginations of its creators in faceted fragments of the unholy. The award-winning Jerami Cruise, dread-helm of Toetag Efx, was called upon to aid in the developing and mastering of the true stars of The Song of Solomon: profoundly disturbing moments of detestation, gore-saturated carnage and next-level special makeup effects.

The Song of Solomon begins with a meaty act of self-destruction that crudely staples the viewer’s eyes open in shock at the repugnant opening scene and each set-piece of torment following bares an increasingly frightful mask of abomination as the rites and rituals of Catholic Mythology and exorcism play out in a malice-fueled game of chess in which the men of the cloth are the pawns for a queen of the damned, vomiting a blinding darkness that shrouds the light of hope from her victim’s eyes, ensnaring each in a mangled web of chaos, loathing and self-destruction. One particular gross-out sequence echoes the stomach-twisting endurance of such scenes as Hank Skinny’s puke-drinking threshold of revulsion in Lucifer Valentine’s Slaughtered Vomit Dolls or Crusty’s emetophilic molestation in August Underground’s Mordum. The Song of Solomon plays out almost like a lengthened translation of the last act of The Exorcist, aiming to “out-gross” the godfather of all demonic possession endeavors and Biro, abetted by his team of proficient professional artists, has achieved this inconceivable goal.

The Song of Solomon is quite simple yet the history behind these spiritual confrontations are ripe with historical context and intrigue that add a layer of authenticity to the screenplay, birthed by Biro after heavily researching the practices of exorcism throughout the generations that had documented their metaphysical battles for the church before sealing them away from the public’s eye in a denial of their willing participation in these constellations of misery disguised as salvation.

The Song of Solomon is one hell of a demonic possession film and it deservedly remains in a distinctively grotesque class of its own.