INCEST - MOTHER-SON


  1. LittleMissBloodAndGuts
  2. Pamela

Yes it's true. Moms and their sons sometimes do it. Details of real cases are out there if you dig deeply enough in the mass media. I find it so much more interesting than father-daughter incest, which is so common as to be a bit passť for my tastes. But my personal preoccupation is with mother-daughter incest, something even more taboo, and much harder -but not impossible to find documented. (Call me kinky, but thanks to dear old mum, I have issues. Lots of 'em. Er, ah, just kidding.) So far, Hollywood doesn't have the guts to tackle the idea of moms and daughters, so for the time being, you will have to be content with this list of movies featuring heterosexual parent-child family fun. Oh how I yearn to make licentious comments, but the issue speaks for itself. I will be supplementing with links and such. Like this one, How Close Is Too Close Between Mother And Son? with great pics of hot supermodel Stephanie Seymore getting chummy with her cute teenage son. Check back. I did type "chummy" and not "chubby," right? OK. Just checking. All of these films have mother-son incest, or hinted incest as either a central or ancillary theme, except for Midnight Cowboy and Caligula film which depict grandmother-grandson relationships. NOT YET IN FLIXTER DATABASE: . Oedipus Rex (1972) Oedipus Rex (1972) (TV) The Damned (1969) My Lover My Son (1970)

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  LittleMissBloodAndGuts's Rating My Rating
1
Oedipus Rex 1957,  Unrated)
2
The Manchurian Candidate 1962,  PG-13)
3
Edipo re (Oedipus Rex) 1967,  Unrated)
4
The Killer Inside Me 1976,  R)
The Killer Inside Me
This is the first film adaptation of Jim Thompson's novel by the same name. See also, the 2010 version directed by Michael Winterbottom.
5
Oedipus Rex and the Flood 1984,  Unrated)
6
Oedipus Rex 1993,  Unrated)
7
Stravinsky - Oedipus Rex 1993,  Unrated)
8
Fist in His Pocket (I pugni in tasca) 1965,  Unrated)
9
Night Games (nattlek) 1965,  Unrated)
10
Midnight Cowboy 1969,  R)
11
Le Souffle au Coeur (Murmur of the Heart) 1971,  R)
12
Savage is Loose 1974,  R)
13
La Luna 1979,  R)
La Luna
A couple of very hot, steamy scenes of incestuous cunnilingus that almost happens and a handjob that does.
14
Caligula 1979,  R)
Caligula
FIVE STARS to the UNEDITED version.
15
Caligula II - Messalina, Messalina 1977,  Unrated)
16
Emperor Caligula - The Untold Story (Caligola: La storia mai raccontata) 1982,  Unrated)
17
Pieces (Mil gritos tiene la noche) 1983,  R)
18
Caligula: Reign of Madness 1997,  Unrated)
19
Mishima - A Life in Four Chapters 1985,  R)
20
Psycho IV: The Beginning 1991,  R)
Psycho IV: The Beginning
By the fourth installment, I was expecting the worst, yet Joseph Stefano, who wrote the first Psycho, still managed to get and keep my attention. In this sequel/prequel we find out just how poor Norman got so messed up to begin with. Hot and bothered mom sends Norman mixed signals about sex. She wants it from teenage Norman, and my jaw dropped when he tried to give it to on screen in what was kind of a hot scene ala the come on between Huston and Cusack in The Grifters.

The guilt hits before she can complete the act, and even before she really gets started, so she takes it out on Norman by leaving him high and dry and dominating him in some very weird ways. Definitely not what I was expecting, but I squealed with delight to see the story delve frankly into the darkness of numerous taboos. Odd yet clever and well done. Not La Luna with regard to the incest, but twisted enough that I got my money's worth.
21
The Grifters 1990,  R)
22
Sleepwalkers 1992,  R)
Sleepwalkers
So ...was he doing it with his mom, or...
23
Bad Boy Bubby 2005,  Unrated)
24
Spanking the Monkey 1994,  Unrated)
25
Little Death 1996,  R)
26
Strays 1997,  R)
27
Sitcom 1999,  Unrated)
28
La Petite Lili 2004,  R)
29
Black Christmas 2006,  R)
30
Savage Grace 2007,  Unrated)
31
MindFlesh 2008,  Unrated)
MindFlesh
MINDFLESH (Independent, 2008)
WRITTEN BY: Robert Pratten based upon the novelby William Scheinman
DIRECTED BY: Robert Pratten
FEATURING: Peter Bramhill, Carole Derrien, Christopher Fairbank, Roy Borrett, Steven Burrell, Isabella Jade Fane, Lucy Liemann, Clare Routh GENRE: HORROR/SCI-FI
TAGS: fantasy; aliens; nudity; rape; 100 Weird!
RATING: 8 PINTS OF BLOOD

PLOT: A troubled man with a dark secret unwittingly summons from another dimension, an alien nymphomaniac. She just may represent a race of gods, and they're none too happy about her latest tryst.

COMMENTS: Wow! Mindflesh threw me for a loop and really knocked me back in my seat! Discovering a prize like this in a media slurry of mainstream mediocrity is like running across the fabled Star of India in a trash heap.

Slick, fresh, Mindflesh is a bizarre horror yarn about sexual obsession, body disassociation, and morbid metamorphoses. Independent writer/director Robert Patten outdoes himself, making an extreme departure from his first feature length effort, London Voodoo (reviewed below.) Mindflesh is a surreal shocker. It's sexy, grotesque, and provocative. It's a crazy, jarring ride through alternative consciousness, through the chilling, the macabre, the uncanny, and the wantonly perverse. Patten has accomplished the nearly impossible task of visually translating to the screen in a sensible manner, William Scheinman's quirky, metaphysical novel, White Light, replete with all of its dreamlike nuances, grim foreboding atmosphere, and otherworldly Ick! factor.

What transpires in Mindflesh isn't presented via corny, over-simplified exposition, yet we manage to achieve an intuitive grasp of the phenomena that unfolds. The result is a movie that challenges us with its imaginative concepts, yet is not hard to understand.

Chris (Peter Bramhill) lives after dark, quiet, solitary, driving a mini-cab through the swirling night fog along the damp asphalt traverses of darkened London. Dimmed neon signs, empty boulevards, abandoned parking lots, the lonely, sleeping city is his domain. Issuing from the receivers in his cab is the distracted soundtrack to his nocturnal patrolling, a mottled, perpetual backdrop of scratchy radio traffic -dispatch messages, police reports, weather bulletins, and static. It's a world alien to that which most of us are accustomed.

Chris finds out just how alien it can be.

He may have some special sensitivity. Chris is haunted by murky half-memories of something awful from years ago. Increasingly, he suffers from terrifying dreams and hallucinations. From a book, he encounters the hypothesis that trauma warps our plane of existence, creating holes in the fabric of space time through which various phenomena cross between parallel worlds.

Chris's suppressed angst, unmet inner need, wistfulness, and loneliness radiate from him like an aura. By chance, it catches the notice of an enigmatic stranger with a similar perceptive gift.

During his travels through the urban twilight, in shadows, out of the corner of his eye, in his rear-view mirrors -is it a trick of the light? - Chris gets mysterious glimpses of an apparition, a woman (Carole Derrien ), solitary, resolute, watching him.

Her appearance is accompanied by electromagnetic disturbances. His automobile compass spins wildly. Radio transmissions warp and undulate, becoming unintelligible. When Chris approaches the mystery woman, she vanishes into a smoke trail, shimmering out of sight in a spiral of mist.

Chris desires her absolutely. An inter-planar transcendence takes place. The woman achieves a physical manifestation, acquiring form out of thin air. Has Chris willed her into this world, or has she willed herself here, entwining with our plane of existence in order to entwine with Chris?

She flickers in and out of earthly reality, until In an example of utter Pygmalionism gone awry she materializes from the skeleton up. Organs fill in the gaps, skin follows. Slick with lymph and blood, basking in the presence of Chris's humanity, she finalizes like a caterpillar transforming in the chrysalis.

She is a quantum Goddess; sex incarnate, saturated, oozing, seething with desire. She and Chris engage in a ghastly, slimy, ethereal coupling, an obscene union of heaving, illicit, inter-species sex. In her amorous frenzy, the Goddess trashes Chris's apartment, seducing him tirelessly, repeatedly, transforming him into a quivering lump of catatonia. She pulls him into her alien universe and he undergoes a bodily transformation into her peculiar native anatomy.

Problematically, some very frightful aliens make the scene. They have heavy grievances about Goddess leaving her plane for the earthly realm. They're willing to do some very nasty things to get her back.!

Chris is burdened with the job of returning her, and sheer hell awaits him if he falters. To achieve his salvation, Chris must discover how the Goddess is linked to a sinister episode in his deliberately obfuscated past.

But how?

Mindflesh is colorful and wonderfully twisted. Arban Ornelas's score effectively reinforces its vivid imagery and seamlessly blends the film's segue-ways. Patten's striking cinematic technique is captivating and compelling. His transitions between scenes, the way he melds flashbacks, dreams, and hallucinatory experiences artfully conveys their meaning in a manner that's concise and logically accessible to the audience.

Mindflesh is almost a 10 Pints Of Blood horror film. It just misses the bullseye. Chris's Achilles heel is right out of a famous Greek tragedy. The effect is melodramatic. More surprisingly, in the otherwise sound screenplay, there are a couple of easily avoidable logical flaws which occur later in the story, We try to overlook these incongruities because they pale in comparison to the movie's sensationally striking visual and imaginative elements. For a horror movie, Mindflesh is in the top tier, sporting visual effects and horror styling reminiscent of Altered States, Videodrome, Hellraiser, Possession (1981), Species, and Splice.
32
Peacock 2010,  PG-13)
Peacock
PEACOCK (2010) Independent WRITTEN BY: Michael Lander and Ryan O Roy DIRECTED BY: Michael Lander FEATURING: Cillian Murphy, Ellen Page, Susan Sarandon, Josh Lucas, and Bill Pullman GENRE: DRAMA / PSYCHOLOGICAL THRILLER TAGS: offbeat, disturbing PLOT: In a timeless, isolated Nebraska town, a meek bank clerk struggles with terrible secrets that threaten to wreck the lives of innocent parties when a violent accident knocks his private, insular world off its axis. COMMENTS: Credible performances and an uncanny story accent thoughtful cinematography in this deeply unsettling, slow-building, but suspenseful character study about a tortured loner. Themes of isolation, abandonment, and wide open spaces offset the film's dark, claustrophobic feel. Poorly promoted, this arty, unusual movie missed film festivals and theatrical release, going instead straight to DVD. (It did make the Cedar Rapids Independent Film Festival, having been shot in Iowa.) John (Murphy) is a nervous sort of a fellow who dutifully toils away for an overbearing boss at a thankless job in his bank's basement records vault. But John doesn't have a problem with his dark office, or endless workload. That's because the busier he is, the less he has to think about something ... well, something awful. John used to live alone with his mother. Until she died suddenly, that is. Her death was a blessing for John because she was an abusive monster who kept him trapped in a cloistered, sickly Freudian relationship. Living at home, isolated from those around him, John was brainwashed into utter dependence on dear old mum. She willfully dominated John, so much so that even after her death, she continues to possess him from beyond the grave. All of this would be fine with John who has never known anything different. He has coping mechanisms, highly disturbing ones. Unsettling as his means of dealing with his battered psyche are, they work, but they require privacy and solitude. John just wants to be left alone, but his life is ripped asunder when a violent calamity strikes him, bringing scrutiny and unwanted disturbances. Reeling from the aftershocks, John tries desperately to hang on, but a wave of unsolicited intrusions veers everything dangerously off course, down a twisted, gloomy path to madness, arson and murder.
Peacock - trailer
33
The Killer Inside Me 2010,  R)
The Killer Inside Me

THE KILLER INSIDE ME (2010)
WRITTEN BY: John Curran based on the novel by Jim Thompson
DIRECTED BY: MIchael Winterbottom
FEATURING: Casey Affleck, Ned Beatty, Elias Koteas, Tom Bower, Simon Baker, Bill Pullman, Kate Hudson, and Jessica Alba
GENRE: CRIME THRILLER
Tags: violent, brutal, disturbing

PLOT: In this brutal tale of sadism, masochism, mother-son incest, and corruption, a violently psychopathic sheriff entangles himself in an intriguing web of deceit, madness and murder.

COMMENTS: This is the second film based on Jim Thompson's lurid, violent novel. The jacket caught my eye, but I almost didn't rent it when I saw that Jessica Alba was in it. Then I decided to gamble. Wow! What a good movie! And even Jessica Alba is well cast as a whore. Failure in the role is not an option for her.

The Killer Inside Me is a convoluted, salacious crime thriller and character study about a small town sheriff's deputy named Lou Ford (Affleck) who follows his own rule book. And his rules apply to his willingness to embark on any endeavor that feels good or is self serving. The development of Ford's character is hideously captivating,

From the start of the picture, Ford is the essence of mannered propriety, good breeding and poise, but we gradually start to glimpse what lies beneath the veneer when novel, stressful situations chip it away. Ford is sinister, dangerous maybe. He mocks his friends by responding to stupid or annoying questions with abject platitudes. He cruelly burns a bum with a cigar when asked for a handout. Ford always wears a becoming smile and never has a hair out of place.

What's interesting though, is that as calculating and prepared as Ford is, he overlooks some shockingly obvious details in undertaking his clandestine schemes. How long will his benefit of the doubt nod from fellow law enforcement protect him? He is clever, yet not all of his mental circuits seem wired together. The dichotomy is compelling to watch.

The constable allows himself to be drawn into a bit of intrigue involving a prostitute and a rich boy, but turns the tables on his conspirators to settle an old score. The problem is, he botches it, opening a can of worms. All successive attempts to remedy the mistakes drag Ford deeper into an increasingly bizarre quagmire. Some non-linear plot-elements keep us in the dark and allow the plot to unfold as a mystery, making this brutal, very violent story as engrossing as it is twisted and disturbing.

I want to read the racy, gritty noir novel upon which this film is based, the 1952 The Killer Inside Me by Jim Thompson. I understand it made a sensation in the world of fiction. In terms of being cleverly written, imaginative and being well-received, the novel sounds akin to No Country for Old Men, by Cormac McCarthy.

It is also interesting to note some plot and setting similarities between The KIller Inside Me and the Coen brothers', Blood Simple. In that story, a self-serving Texas private eye drags the central characters into a nightmarish, ever deepening morass of lies and deception to cover up a crime.

The Killer Inside Me was also made into a 1976 film with Stacy Keach, and directed by Burt Kennedy. Michael WInterbottom's 2010 version is a wonderfully well-produced, hard-hitting movie, but I cannot yet vouch for the quality of its adaptation of the novel.

The Killer Inside Me (2010) really impresses me. It doesn't have that hoakey Hollywood feel that makes you think the producers have you pegged for a moron,. The movie kept me in suspense, kept me guessing, and made me wince repeatedly. Despite the lead being a ruthless psychopath, the story is told from his point of view and it is difficult to resist the urge to care about his character. This makes the viewing experience even more uncanny.

This was a believable, hard hitting movie, an insightful character portrait of a psychopath and the morass he gets himself into by giving into that textbook-typical psychopathic impulsiveness/impetuousness. The Killer Inside Me is lurid and racy, with no stupid "happy ending." In fact, this story had one of the best endings I have ever seen in a crime film, a real sitck of dynamite.


The Killer Inside Me (2010) - international trailer
34
Chained 2012,  R)
Chained
CHAINED (2012)
WRITTEN BY: Damian O'Donnell, Jennfer Lynch
DIRECTED BY: Jennifer Lynch
FEATURING: Vincent D'Onofrio, Eamon Farren, Evan Bird , Julia Ormond, Conor Leslie, Jake Weber, Gina Philips, Daniel Maslany
GENRE: PSYCHOLOGICAL THRILLER
RATING: 7 PINTS OF BLOOD

PLOT: When a mother and son are kidnapped by a sexual psychopath, the serial killer keeps the son prisoner and raises him as a slave, training him in the art of murder.

COMMENTS: I don't normally go for slasher movies or stories about women being tormented and tortured, but Chained riveted me with its utterly bizarre story. I simply had to see how it was going to turn out. Directed by Jennifer Lych, Chained lives up to her to reputation for bringing us genuinely weird and disturbing stories. With convincing, hard-hitting performances, Chained is offbeat, harrowing to endure, and spirals toward an unexpected twist ending that I didn't see coming.

"Bob" (D'Onofrio ), a low functioning but cunning, speech impaired cab driver abducts his fares, a mother (Ormond ) and son (Bird), takes them to his fortified home in the utter middle of nowhere, and rapes and kills the woman. But what to do with her youngster son? Being a practical sort of fellow, Bob adopts him of course. Makes sense. But it's no ordinary adoption. Nicknaming the hapless youth, "Rabbit," Bob forces him to become his personal slave, coercing his new captive to clean the house and prepare his meals, allowing Rabbit to eat only table scraps, and literally chaining him to a wall to sleep.

Rabbit tries to escape, but Bob's abode, while resembling an unremarkable suburban home inside and out, is built like a fortress. When Rabbit finally squeezes through a window, tenacious, Argus-eyed Bob is right on top of him. There's no place to run to. Bob's murder house sits on a treeless, wasted plain, with no neighbors as far as the eye can see. There is nothing for miles and miles in every direction, but featureless prairie.

Resigning himself to his fate, Rabbit makes the best of things, following Bob's Draconian living code. Every few nights. Bob brings home a new, unwitting victim, a taxi passenger who discovers too late that there is no way out of Bob's death cab. Rabbit has to clean up the blood and later, Bob teaches him in the skill of dismemberment.

Bob and Rabbit form an uneasy alliance. Rabbit awkwardly and uncomfortably adapts to his situation. The gradual shift in his personality is disquieting. He's appalled by Bob's agenda, but too terrified to take aggressive action against him. Bob is too strong, too alert, and has all the bases covered. He anticipates Rabbit's every move before he can make it.

As Rabbit matures (now played by Eamon Farren), Bob assumes the twisted role of "father" -an insane, demented father. He appoints himself as Rabbit's mentor, home-educating Rabbit from textbooks and schooling him in darker subjects, such as anatomy, field surgery, and finally the craft of murder, all the better to indoctrinate Rabbit with the knowledge to one day kill effectively and dispose of bodies.

Oddly, Bob seems to take a genuine, paternal interest in Rabbit, but it is fraught with queasy contradictions. He wants Rabbit to be educated, yet denies him all access to the outside world, real life experiences and socialization. The only socialization Rabbit receives is a distorted one through his contact with this highly eccentric murderer.

Disturbingly, Rabbit is too afraid of Bob to just kill him. He passively cooperates with Bob's perverted endeavors, never killing any of Bob's victims himself, but aiding and abetting Bob's efforts. As we study the perplexing, edgy, ongoing interactions between the two over time, a dual character portrait of the pair emerges. Through flashbacks and nightmares, we discover that Bob was raised in a brutal, incestuous family. But while Bob's sociopathy was forged by his terrible experiences, there is little explanation for his homicidal instincts. No apology is made for him. He rapes and kills because he enjoys it. Misogynistic and hateful toward women, he has no mechanism through with to relate to them other than sexual assault and slaughter.

Chained is difficult to watch, but it's impossible to look away. As the story unfolds with a maddening deliberateness, one gazes with excruciating dread at Rabbit's transformation and Bob's power over him. Rabbit doesn't like the killing, but he cooperates. Rabbit's circumstances advance to an inevitable crossroads. The time will soon arrive when he must prove himself to Bob by committing his first homicide . Not knowing any other life, Rabbit will have to t chose between fighting his fear of Bob and refusing Bob's orders under penalty of death, or going against his instincts and becoming a serial killer himself.
35
Movie 43 2013,  R)
Movie 43
Hilarious!

Good clean fun for the entire family

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