Nutsack Part One: Lucifer's Cosmonauts

Nutsack Part One: Lucifer’s Cosmonauts 

By Freddy Funbuns

“The loves we share with a city are often secret loves.”

~Albert Camus, Summer in Algiers

A truly strong filmmaker can create amazing cinema with little to no budget.  Whether that be hiring talented local actors for little to no money, guilting friends to help build sets or do special effects, or utilizing the urban scrawl of their environment for sets, inspiration, or as a character itself.  Richard Powell does it by taking brilliant little known actors and turning them loose in amazingly written parts.  Marcus Koch exploited his knack for gore in his over the top crazy clown flick 100 Tears,  and James Bell uses the mummified shell of suburban Detroit to create a destitute wasteland in his 4th film, Nutsack Part One: Lucifer’s Cosmonauts.  

Nutsack Part One is an amalgam of sub-genre cliches that exceed your expectations and mold together into a idiosyncratic viewing experience.  Nutsack Part One can be blown off as a cheap ‘Creature Feature,’ with a tentacled creature running amok by way of clear filament guided appendages, it can be misconstrued as a lowball exploitation flick showing a scene of simulated oral sex and a tentacled rape with full nudity, and it can be considered a cash grab running off James Bell’s recent success of Tantrum that has been featured in Rue Morgue magazine and the Nordic gore publication Goregasmic Cinema.  In my opinion I don’t think Nutsack Part One is any of these things, I think it’s another leap in creative filmmaking from a lunatic director that is growing with every picture he makes.  

A stand out aspect in Nutsack Part One that I haven’t really hardened my colon over with other James Bell films is his use of scene composition.  There are a lot of long establishing shots with strong linear and angular objects dictating the scene and all of which came from chunks of abandoned buildings around his town.  Scenes where James’ orange sweater clad, aquiline character lurches past slatted walls, graffiti covered ply wooded windows, and up stairs with hypodermic looking handrails, are all visually incredible and pit the viewer in his own dismal environment.  Bell’s gore and special effects are also ratcheting up by the movie.  Nutsack Part One displays a great creature that looks like a KY covered turd that fell out of a HIV Positive prostitute, explosive arterial spray, great silicone molds, and a splatter gore ending worthy of being side by side with James Muro’s Street Trash.  

I also love the low-fi brooding music though out Nutsack.  Instead of taking the easy route and re-enlisting the Slings who did the lauded soundtrack to Tantrum, James opted to do the music himself on some archaic piece of shit that Emerson, Lake, and Palmer probably wouldn’t even touch.   The soundtrack varies in volume and rhythm  and forces you to pay attention to it whether you like it or not. 

So what is Nutsack Part One: Lucifer’s Cosmonauts about?  Just fucking buy it; $10 for the regular version with the cover painted by yours truly or spring for the two great gore covers by Horror Artist Joe Meredith for a whopping $15.  You will not be let down.
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