Our 11th sensational season of BAR TRASH — SYNTHETIC FLESH! — was a tribute to 100 years of monster makeup FX and the artists who built them from wax, latex, and lube.
Showcasing more than 30 prosthetic pioneers, SYNTHETIC FLESH! featured monster FX from Hollywood’s early innovators to the 1980s’ riot of rubber, and beyond. The film programme embraced fan favourites, dime store monstrosities, awards-worthy creations, and rarely-screened world cinema gems. A QUEER MONSTROSITY sidequest at Finsbury Park opened the closet on queer/coded monsters that stretch the boundaries of identity.
SYNTHETIC FLESH! screened every Wednesday at Genesis Cinema, and on alternate Sundays at Beer Merchants Tap and Finsbury Park Picturehouse, from Wednesday 24 September to Wednesday 17 December 2025. For this season, we were lucky to receive National Lottery Funding through the BFI Film Audience Network, which paid for a number of special guests to bring their light to the darkness.
#169: Opening Night — DAY OF THE DEAD: 40TH ANNIVERSARY dir George A. Romero (1985/USA)
Genesis Cinema 24 SEPT 2025 [full event info]
BAR TRASH resumed with the launch of our eleventh season — SYNTHETIC FLESH! — and a sold out 40th Anniversary screening of George A. Romero’s DAY OF THE DEAD (1985) at Genesis Cinema.
Slam dunked at the box office and by critics at the time of the film’s original release, DAY OF THE DEAD has since undergone a significant reputational reappraisal and reversal of fortunes on home media and, in my humble opinion, now stands (slobbering…) head and shoulders above the other living dead films (yes, even DAWN). But what did our audience make of it?
Of the 29 available audience review cards, 27 voted ‘treasure’, no one voted ‘trash’, and 2 swung both ways (“Too much gore for me”), which sets our new season of ‘grande illusions’ off to a brilliant start.
#170: THE BRIDE OF FRANKENSTEIN: 90TH ANNIVERSARY dir James Whale (1935/USA)
Finsbury Park Picturehouse 28 SEPT 2025 [full event info]
The immigrant ‘outsiders’ that launched the first iconic run of Universal monster movies included studio owner Carl Laemmle and his son and producer, Carl Laemmle Jr, director James Whale, and actors Bela Lugosi and Boris Karloff. One of the other immigrants involved in these productions is of course, makeup genius Jack Pierce, born Yiannis Pikoulas in Greece (1889 – 1968). At a time when immigrants are again under attack in our own country, it feels even more important that we come together to celebrate their contributions — big and small — to our shared cultural lives.
Our BAR TRASH: SYNTHETIC FLESH! screening of THE BRIDE OF FRANKENSTEIN at Finsbury Park Picturehouse was therefore a celebration of the film’s 90th Anniversary and an ovation to all outsiders everywhere. Perhaps unsurprisingly for such a widely revered classic, all 20 of the available audience review cards voted ‘treasure’ (“LOVED IT!”), leaving this “all time classic” very much ‘alive!’ despite its considerable decades on the mortuary slab.
#171: BENEATH THE PLANET OF THE APES dir Ted Post (1970/USA) with SFX makeup artist Dan Frye in conversation with Token Homo
Genesis Cinema 01 OCT 2025 [full event info]
SYNTHETIC FLESH! started with a slew of sequels, partly by accident as I was keen to showcase some jaw-ripping monster makeup by as wide a variety of makeup artists as possible, and partly by design as monsters in sequels often leap from the screen earlier than their franchise origin stories but enjoy less cinema time and are therefore ripe for (re)discovery.
We were incredibly lucky to introduce BENEATH THE PLANET OF THE APES with an on-stage appearance by special makeup effects artist and prop maker Dan Frye. Dan has a 40+ year career in the film industry, starting in New York with legendary cult film directors like Larry Cohen (IT’S ALIVE III) and Frank Henenlotter (BRAIN DAMAGE, FRANKENHOOKER), before moving to LA (which he hated!) and then London (DOOMSDAY, GAME OF THRONES, DR WHO). Dan’s work in the industry was inspired by John Chambers’ Oscar-awarded makeup on the PLANET OF THE APES franchise.
What did our audience make of BENEATH THE PLANET OF THE APES (“OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB”)? Of the 15 available audience review cards, 11 voted ‘treasure’ (“Never trust humans”), 1 ‘trash’ (“Come on and rock me Dr Zeus”), and 3 swung both ways (“A mix bag”). Which gives BENEATH THE PLANET OF THE APES some cautious if not full-throated approval.
#172: DEMONS 2 aka ‘Demoni 2: L’incubo ritorna’ dir Lamberto Bava (1986/Italy)
Beer Merchants Tap 05 OCT 2025 [full event info]
In the history of horror cinema SFX — particularly the rubber riots of the 1980s — mostly male/American makeup artists have been lauded, so I have tried to take us around the world and represent some diversity in my SYNTHETIC FLESH! season. The makeup effects in Lamberto Bava’s Italian splatter sequel DEMONS 2 (1986) were created by key makeup artist Rosario Prestopino (1950 — 2008) working with another industry legend, Sergio Stivaletti, who provided the mechanical transformation effects.
People were genuinely surprised by how hard DEMONS 2 hits: “The best Italian sequel ever!!”. Forget those franchise multipliers where nothing exciting happens until the last 10 minutes: restarting DEMONS 2 after our interval unleashed a 45minute non-stop assault of excess. Now, that might have been too much… but whenever is that really a problem? Of the 21 available audience review cards, 19 voted ‘treasure’ (“Gimme some cake!”), 1 ‘trash’ (“Ten floors of terror — high rise living ain’t for me!”), and 1 remained undecided (“None of this would have happened if Sally wasn’t such a drama queen.”). Which looks like another smash hit!
#173: Trans Rights Fundraiser: MUTANT HUNT dir Tim Kincaid (1987/USA) with Avery McNeilly and Loose Willis
Genesis Cinema 08 OCT [full event info]
“The textbook on psychosexual mutant cyborgs” (McNeilly), Tim Kincaid’s direct-to-video MUTANT HUNT (1987) was programmed and presented by queer horror academic and professional pervert Avery McNeilly, and international drag king, comedian and costumier, Loose Willis.
We used this special edition of BAR TRASH to raise money for the Good Law Project’s ‘trans rights fighting fund’, challenging government and societal transphobia through the courts. With the help of our very vocal audience — and the venue’s kind donation of some vegan pick ’n mix amongst other prizes in our mega raffle — we raised a stunning £229, which isn’t bad for a bunch of weirdos watching ‘almost gay porn’* in a bar on hump day.
So what did our “excitable, giddy” crowd make of it? Of the 20 available audience review cards, 16 voted ‘treasure’ (“An absolute Bar Trash classic ♥︎ What a night!”), and, appropriately enough, 4 swung both ways (“Hilarious with some surprisingly excellent effects”). No one voted ‘trash’, which in the spirit of all such binary nonsense, gives MUTANT HUNT a full fisting of enthusiasm from the gathered trash.
#174: FEAR NO EVIL dir Frank LaLoggia (1981/USA)
Finsbury Park Picturehouse 12 OCT 2025 [full event info]
FEAR NO EVIL’s portrayal of a “conspicuously effeminate high-school senior who turns out to be the embodiment of Lucifer” (The New York Times), caused controversy. Queer horror academic Harry M. Benshoff went so far as to call it “one of the most gratuitously homophobic horror films from this period” (‘Monsters In The Closet’). However, it’s long overdue a revival for its inherent camp — Lucifer appears “all decked out in fabulous eye makeup and a diaphanous swirling, sheer black cape-and-gown ensemble” (Benshoff again) — and now, thanks to all the ‘demon’ twinks in our queer world, it also speaks to our social media age.
But what did our audience make of it? Of the 20 available audience review cards, 15 voted ‘treasure’ (“I always knew Lucifer would serve cunt!”), 3 ‘trash’ (“Not gay enough! Make twinks MORE evil!”), and 2 swung both ways (“V. accurate representation of being gay during PE”). Which gives FEAR NO EVIL a pass (if not quite a distinction on merit).
#175: DR BLACK, MR HYDE dir William Crain (1976/USA)
Genesis Cinema 15 OCT [full event info]
William Crain is perhaps the quintessential director of blaxploitation horror, and one of the few Black directors to gain work in the blaxploitation era, “America’s one and only African-American motion picture boom” (Josiah Howard). Crain, however, only ever made two such titles — BLACULA (1972) and our film for Black History Month, DR BLACK, MR HYDE (1976) — with most of his other credited work on TV shows like THE MOD SQUAD (1971) and STARSKY AND HUTCH (1975).
A blaxploitation riff on the 1886 novella ‘Strange Case of Dr. Jekyll and Mr. Hyde’ by Robert Louis Stevenson, DR BLACK, MR HYDE turns research scientist Dr Henry Pride (played by ex American football player Bernie Casey) into a rampaging white-skinned monstrosity, Hyde. What did our audience make of it? Of the 12 available audience review cards, 7 voted ‘treasure’, 2 ‘trash’, and 3 swung both ways. Which gives DR BLACK, MR HYDE a cautious win.
#176: ALTERED STATES dir Ken Russell (1980/USA)
Beer Merchants Tap 19 OCT 2025 [full event info]
ALTERED STATES feels like a delirious battle between warring alchemists — one of words (author and screenwriter, Paddy Chayefsky) and one of images (director, Ken Russell) — and it’s all the richer and more intoxicating for it. But what did our BAR TRASH audience make of it at Beer Merchants Tap? Of the 16 available audience review cards, 13 voted ‘treasure’ (“My mate in the 80s had a VHS cut of tripping scenes this used to appear heavily in”), 2 ‘trash’ (“Was it all a psychedelic rom-com?”), and 1 swung both ways (“A better romance than TITANIC”). Which gives ALTERED STATES a dazzling overdose of success!
#177: THE TWILIGHT PEOPLE dir Eddie Romero (1972/Philippines)
Genesis Cinema 22 OCT 2025 [full event info]
Our first ever BAR TRASH film from the Philippines — in a joint production with the US — TWILIGHT PEOPLE (1972) is a loose adaptation of H.G. Wells’ ‘The Island Of Dr Moreau’ (adapted for film as ISLAND OF LOST SOULS in 1932) with story embellishments from ‘The Most Dangerous Game’, Richard Connell’s short story about human game hunting in the tropics (also adapted for the big screen in 1932).
Director Eddie Romero — “THE great midnight movie auteur of the Philippines” (AGFA) — had exploited Well’s source materials before for his co-directed black-and-white collab with Gerry de Leon, TERROR IS A MAN (1959). Of the 23 available audience review cards, 21 voted ‘treasure’ (“Loved it ♥︎”), 1 ‘trash’ (“It wanted to be a non-linear insanity but the ‘story’ held it back”), and 1 swung both ways (“Loses focus at the end but first half makes up for it”). Which awards this mad science story of back-firing colonialism a revolutionary win!
#178: CAT PEOPLE dir Paul Schrader (1982/USA)
Finsbury Park Picturehouse 26 OCT 2025 [full event info]
Paul Schrader’s ‘moody, erotic, incest thriller’ CAT PEOPLE (1982) proved the purrfect BAR TRASH introduction to the swanky new CLUB ROOM at Finsbury Park Picturehouse, our sold out crowd sampling the table service and cabaret style setting for the first time with exactly the right blend of arthouse and exploitation cinema.
Of the 34 available audience review cards, 29 voted ‘treasure’ (“The best film I have ever seen that has Jerry Bruckheimer involved [as Executive Producer]”), 2 ‘trash’ (“Somehow manages to be less horny than CATS, 2019”), and 3 swung both ways or were non-committal (“Cheaped out on the incest”). Which gives CAT PEOPLE a mighty roar of approval, although there were some serious issues…
#179: MYSTERY HORROR FILM #1: THE INCREDIBLE MELTING MAN dir William Sachs (1977/USA) with SFX makeup artist Geremi So
Genesis Cinema 29 OCT 2025 [full event info]
Our sold out MYSTERY HORROR FILM turned out to be THE INCREDIBLE MELTING MAN (1977) which was a surprise for the gathered BAR TRASH and our very special guest, Hong Kong-born makeup artist, cosplayer and drag performer, Geremi So.
Perhaps indicative of how well this one went down [you can’t win ‘em all!], of the only 18 available audience review cards, 13 voted ‘treasure’ (“Loved the gore”), 1 ‘trash’ (“If only it was paced better it might have been a diamond in the rough”), and 4 swung both ways (“Oh my god. It’s his ear”). Whilst a vote’s a vote, it’s clear THE INCREDIBLE MELTING MAN didn’t seduce everyone with its liquid charms. So thank goodness for the chaotic cabaret provided by our ‘1 Minute Monster’ competition in the intermission which saw a lineup of volunteers re-sculpting their faces with shaving foam against the clock before being judged by Geremi. We are stupidly proud to say, the ‘Bukake Monster’ won!!!
#180: SATAN’S SLAVE aka ‘Pengabdi Setan’ dir Sisworo Gautama Putra (1980/Indonesia)
Beer Merchants Tap 02 NOV 2025 [full event info]
Our first ever Indonesian title at BAR TRASH was Sisworo Gautama Putra’s SATAN’S SLAVE aka Pengabdi Setan (1980) at Beer Merchants Tap, a shining star of Asian horror cinema, and an industry-defining classic. What did our audience make of it? Of the 19 available audience review cards, everyone voted ‘treasure’, which makes it our first 100% smash hit for a good long while [which is a relief because this is one of those titles I was probably too invested in people loving!]. It felt like a really special event, celebrated with an impromptu beer tasting in the interval from the wonderfully expert venue team.
#181: LASERBLAST dir Michael Rae (1978/USA)
Genesis Cinema 05 NOV 2025 [full event info]
Most of all, LASERBLAST (1978) is a revenge film. Titles like Michael Winner’s DEATH WISH (1974) were big at the genre cinema box office, and then came the sci-fi rush that was CLOSE ENCOUNTERS (1977) and, of course, STAR WARS (1977). Blend the two together — adding in a pinch of box office envy — and what do you get?
LASERBLAST was made on a very low budget with all principal photography taking place over three weekends. It was director Michael Rae’s only credit, but the cast draws attention, with America’s original ‘Rocky Horror’ Kim Milford in the lead (he appeared in both the Roxy and Broadway opening/closing stage companies), Cheryl Smith (who we saw last week in THE INCREDIBLE MELTING MAN, exposed to yet more toxic masculinity…), and a brief appearance by one of my screen icons, Roddy McDowall, his name misspelled in the credits (but at least making up for his non-appearance in this season’s BENEATH THE PLANET OF THE APES). LASERBLAST also features the first film role of Eddie Deezen, who would become the quintessential screen nerd in titles like GREASE, 1941, and WARGAMES.
In a film packed with so much “explosion-y goodness” where you can pretty much tell “so many of the shots were the first” — a commitment to the rawness of the first-take being a time-honoured money-saving solution! — some traces of heartfelt sincerity stood out. The first was the “surprisingly well-balanced relationship for a 1970s film” between Milford’s Billy and Smith’s Kathy — after cool scenes of them hanging out, his toxicity is targeted only at douchebags (“So before Eugene from GREASE was a nerd, he was a nerd/bully!”) and she never needs rescuing. The second was a message we can surely all get behind: “Definitely an argument for gun control”. Which is perhaps surprising for a film one person retitled “Young Alien Laser Turtles”, that would definitely make a future BAR TRASH season.
#182: MYSTERY HORROR FILM #2: CAMERON’S CLOSET dir Armand Mastroianni (1988/USA)
Finsbury Park Picturehouse 09 NOV 2025 [full event info]
Our final MYSTERY HORROR FILM of our SYNTHETIC FLESH! season was revealed to be CAMERON’S CLOSET (1988), a mostly forgotten genre film written by Gary Brandner, author of the trilogy of novels and screenplays that became THE HOWLING I-III, and directed by Armand Mastroianni (from a long career making TV movies).
My reasons for choosing this film as the mystery title in our QUEER MONSTROSITY sidequest were beautifully captured by one member of the audience who wrote “we all eventually have to deal with what we’ve buried away at the back of the closet before it destroys us”. My other main reasons were the special makeup effects created by Carlo Rambaldi, who had previously designed the eponymous character in E.T. and the mechanical-head mechanisms for the xenomorph in ALIEN, both of which earned him an Oscar.
What did our audience make of it? Of the 30 available audience review cards, 23 voted ‘treasure’ (“Classic ‘80s Horror”), 4 ‘trash’ (“Far too dated in a bad ‘80s way”), and 3 pivoted in both directions (“SFX? 10/10, Dialogue? Hilariously awkward, Every actor? So so sweaty”), which proves what they say, it does get better when you come out!
#183: VEERANA dir The Ramsay Brothers (1988/India)
Genesis Cinema 12 NOV 2025 [full event info]
Whilst many fans of 1980s special makeup FX revere the names Tom Savini, Rick Baker and Rob Bottin, prosthetic pioneers from other nations were often overlooked in the process of documenting and celebrating the era’s groundbreaking achievements. In his brilliant book about the Bombay horror industry during this period, ‘Seeing Things’, Kartik Nair is one of the few academics to shine a spotlight on, amongst others, the FX work of Srinivasa Roy in VEERANA (1988) and other iconic films from India’s ‘first family of fright’, the Ramsay Brothers.
Srinivasa Roy became one of the leading “latex men” of the Bombay Horror movement, both working with the Ramsays on numerous occasions and making ground for other artists to follow. Three of his other films include the Ramsay’s smash hit PURANA MANDIR (1984) and its sequel SAAMRI (1985). He also worked on their deranged NIGHTMARE ON ELM STREET clone, MAHAKAAL (1994). Of the 28 available audience review cards, 23 voted ‘treasure’ (“What beautiful chaos”), 2 ‘trash’ (“Way too repetitive, wears out its welcome after the time skip”), and 3 swung both ways (“It’s both trash and treasure at the same time, as it should be”). Which looks like a glorious smash hit, all served with two intermissions, free samosas and chai to power the gathered trash through the 2 hour and twenty minute run time.
#184: World AIDS Day Fundraiser for Positive East / Double Feature: THE FLY dir David Cronenberg (1986/USA & Canada) + THE FLY 2 dir Chris Walas (1989/USA & Canada)
Beer Merchants Tap 15 NOV 2025 [full event info]
BAR TRASH screened THE FLY (1986) and its often overlooked sequel THE FLY II (1989) as a creature double feature to raise funds for local HIV prevention and support charity Positive East in advance of World AIDS Day. It was both an opportunity to watch two films in great company and reflect on progress in dealing with the global pandemic as HIV/AIDS has transitioned from an untreatable/lethal disease to HIV being treatable, preventable and untransmissable when people have access to the treatment and support.
Of the 18 available audience review cards, 14 rated the double feature as ‘treasure’ (“Two films that give a buzz for very different reasons”), whilst of the 4 that gave different scores for each film, THE FLY ranked as ‘treasure’ (“Very upsetting”), and THE FLY II as ‘trash’ (“FLY II is an insult to flies”). Which, just like the films, is a critical history repeating itself…
#185: THE PHANTOM OF THE OPERA: 100TH ANNIVERSARY dir Rupert Julian (1925/USA) with live score by Maxim Melton
Genesis Cinema 19 NOV 2025 [full event info]
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#186: LEGEND – DIRECTOR’S CUT: 40TH ANNIVERSAY dirs Ridley Scott (1985/UK)
Finsbury Park Picturehouse 23 NOV 2025 [full event info]
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#187: THE TOXIC AVENGER dir Lloyd Kaufman (1984/USA)
Genesis Cinema 26 NOV 2025 [full event info]
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#188: THE ALIEN DEAD dir Fred Olen Ray (1980/USA)
Beer Merchants Tap 30 NOV 2025 [full event info]
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#189: MAUSOLEUM dir Michael Dugan (1983/USA)
Genesis Cinema 03 DEC 2025 [full event info]
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#190: THE LURE: 10TH ANNIVERSARY aka ‘Córki dancingu’ dir Agnieszka Smoczyńska (2015/Poland)
Finsbury Park Picturehouse 07 DEC 2025 [full event info]
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#191: FRANKENHOOKER dir Frank Henenlotter (1990/USA) with SFX makeup artist Dan Frye in conversation with Loose Willis
Genesis Cinema 10 DEC 2025 [full event info]
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#192: SOCIETY dir Brian Yuzna (1989/USA)
Beer Merchants Tap 14 DEC 2025 [full event info]
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#193: Closing Night — HOWARD THE DUCK dir Willard Huyck (1986/USA)
Genesis Cinema 17 DEC 2025 [full event info]
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