By any rational measure, Hell of the Living Dead and Rats: Night of Terror are cheesy barrel scrapings, budget-starved and blandly offensive horror counterfeits. But by the standards of Mattei’s filmmaking ouevre—which also includes nunsploitation, Nazisploitation, women-in-prison flicks, and mondo-style “documentaries”—they are the cream that rises to the top of the milk.
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