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Review by John W. Bowen of Rue Morgue Magazine
At this point, you've all probably seen at least a couple of examples of a growing sub-genre known as the backyard epic - low-fi, shot-on-vid cheapies from horror's burgeoning underground. They seem to arrive at our offices by the dozen every week, and let's not mince words - most of them are shitty. Once in a while I see a pretty good one. Two years ago, I actually saw one that blew me away: Mark Savage's MASKED AVENGER VERSUS ULTRA-VILLAIN IN THE LAIR OF THE NAKED BIKINI. I've just now seen another - and this is no exaggeration - I'm almost too tongue-tied to adequately describe how good it is.

SCRAPBOOK unflinchingly details the abduction, rape, and torture of Clara (Emily Haack) by a sadistic serial killer, Leonard (Tommy Biondo). After several days of near-unspeakable degradation, Clara hatches a plan: she can't hope to overpower her tormentor physically, but she just might be able to use his own pathology to manipulate him into letting his guard down.

Both Haack and Biondo turn in performances of astounding intensity and authenticity that will leave even the most jaded viewer feeling battered and exhausted. The accompanying short documentary (which regrettably doesn't feature any interviews) asserts that THE TEXAS CHAIN SAW MASSACRE was influential on SCRAPBOOK, and that's a bit of an understatement. The grubby primitivism that fuels CHAIN SAW is in ample supply here, although director Eric Stanze occasionally shifts gears into a wild, hallucinatory fugue state that's worlds away from Tobe Hooper but works marvelously nonetheless.

The fact that I find such an excruciatingly ugly and unpleasant film so exhilarating is testimony to the incredible skill with which it was made. If SCRAPBOOK achieves the cult classic status it so richly deserves, its impact on micro-budget horror filmmaking could be staggering. Normally, the most anyone can reasonably expect from one of these films is competence, and anything beyond that is gravy. But Stanze, Biondo, and Haack have raised the bar significantly with a single film, and I rather doubt that most of their peers could even hope to compete.

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