Mutant Blast – Portugal, USA, 2018 – reviews

‘Mutation is only the beginning.’

Mutant Blast is a 2018 Portuguese-American science fiction horror feature film written, co-produced and directed by Fernando Alle with additional ideas by Adrián Cardona. Troma‘s Michael Herz and Lloyd Kaufman were also co-producers. The movie stars Joaquim Guerreiro, Pedro Caseiro, Pedro Barão Dias and Paulo Alexandre Firmino.

Plot:

Maria, a fearless soldier, and TS-347, a man with superhuman strength, are being pursued by a military cell responsible for scientific experiments that have resulted in a zombie apocalypse.

On the way, they will meet Pedro, a man with few ambitions and a great hangover. Together, they will try to escape to a safe place, but complications will cross their paths in the form of a nuclear bomb…

Reviews:

” …the movie has a heart and delivers the kind of emotional beats that elevate the viewing experience to a place that might draw in some non-Troma die-hards. Fanatics needn’t worry, there’s plenty of gratuitous, head stomping gore and violence and enough fake blood to swim in.” Stuart Wright, Britflicks

“Of course, it is campy, and of course, the jokes are corny, but this is exactly the type of movie you want to see in a theatre at midnight. Some scenes even seem like Star Wars homages, including a goofy creature looking around making noise, cut with a scene wipe […] Watching it alone is a different story. The shift in moods during the film is kind of awkward…” Jeremy Curry, Exclaim!

” …we get to enjoy some totally loony Tromatastic daftness for the first twenty minutes or so, after which Mutant Blast ‘settles down’ to become a film with some tremendously imaginative absurdist surrealism, with a philosophical bent! I never thought a giant French lobster dressed in a suit could bring a tear to my eye…” John Llewellyn Probert, House of Mortal Cinema

Mutant Blast is silly, surreal and ridiculously violent, with dick gags and jokes about bodily functions sitting alongside outlandish mutations and acts of eye-popping corporeal destruction. The grotesque dismemberments and decapitations, the gushing geysers of blood and the cheaply (and practically) realised hybrid creatures are no less reminiscent of the Japanese splattercore genre […] Yet there is nonetheless a kind of reality underlying the absurdities…” Anton Bitel, Projected Figures

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