Powerhouse Films, out now

British master of the exploitation flick Norman J Warren is celebrated in this five-disc set that showcases his nasty, nudie and often bonkers output.

While you might not recognise his name, it’s likely that you’ve watched one of Warren’s films, either or late night TV or a VHS tape in video’s burgeoning years. Powerhouse have managed to secure world Blu-Ray premieres of new 2K transfers (approved by the director) for these releases, and this box set is limited to 6,000 copies (including a 120 page book).

Norman only made nine features, so this collection of five is a good representation of his oeuvre, from sci-fi to horror, with nudity, gore and other tick box items on the exploitation checklist. Like Pete Walker (House of Whipcord), the director never thought he was creating high art, instead manufacturing cheap product to feed the needs of Britain’s fleapit cinemas and latterly the unregulated UK video scene, taking advantage of the UK censor’s more liberal view towards what could be included in an X-Certificate release.

None of the movies could be described as ‘good’ and yet they all serve as time capsules of a particular type of film-making, and it’s great fun spotting young British stars who would go on to other, bigger things. The movies are Satan’s Slave, Prey, Terror, Inseminoid and Bloody New Year.

Satan’s Slave (1976) features Michael Gough (he worked for £300 and provided his own wardrobe!), Barbara Kellerman, Michael Craze and Martin Potter in a sleazy tale of a young girl terrorised by Satanists. Some of the misogynistic sexual violence and full-frontal nudity didn’t sit well with the censor at the time, but now we can see the full cut, and it’s just all a bit grubby and predictable.

Prey (1978) is essentially a three-hander between a lesbian couple and an alien who can transform into a strange, toothsome cat beast. It’s all set around a country home and the most interest comes from the shift in power play between the trio. The obligatory softcore lesbian sex just isn’t sexy, and ultimately it’s all a bit inconsequential.

Terror (1979) features a young Glynis Barber, Michael Craze again, William Russell and Peter Mathew. This eclectic cast try to make sense of the Suspiria-inspired tale of witchcraft, stabbings and broken glass. Sadly, Warren is no Argento, and the best moments are the movie within the movie – Bathtime with Brenda!

Inseminoid (1981) became Horror Planet in the US, and is a blatant rip-off Alien that is no better than other wannabes like Planet of Terror and Xtro. Judy Geeson is actually very good as the crew member impregnated by an alien creature, but her twin progeny are awful rubber monsters. Stephanie Beacham and Victoria Tennant join in the nonsense and good use is made of location shooting at Chislehurst Caves in Kent.

Bloody New Year (1987) features no recognisable stars in a tale of shipwrecked teenagers stuck in an abandoned hotel that’s forever stuck in New Year’s Eve mode, even in high summer. It’s a very poor quality print, the HD transfer just magnifying its shortcomings. The hotel is stuck in a 50s time warp, and the game cast all play it straight, but being attacked by a vacuum cleaner and a rope net is not thrilling. A man in a black sheet, oozing black goo, is as good as it gets.

I won’t go through all of the ‘extras’ that Powerhouse have crammed onto the discs, suffice to say that they include both archival and new interviews, features, documentaries, commentaries, appreciations, trailers, TV spots and stills, they are often more fascinating than the features themselves. Norman J Warren: A Sort of Autobiography is a good way to introduce yourself to the film-maker, and then there’s also Turn Off Your Bloody Phone: Norman J Warren and the Ghost, a horror short produced for 2013’s FrightFest.

Verdict: As comprehensive a package you’ll ever find of Norman J Warren’s most popular movies, they’ve never looked so vibrant and shocking, and this is a must-buy for anyone serious about British horror of the late 70s. Looking beyond the cheap scares and cheaper sets, this box immerses you into a world of low-rent entertainment, and all the challenges involved in getting these celluloid nightmares up onto the screen. 7/10

Nick Joy