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Terrorists, Killers and Middle-East Wackos

Shockumentary of real death footage from Bumfights makers.

Terrorists, Killers and Middle-East Wackos

Terrorists, Killers and Middle-East Wackos (also released as Terrorists, Killers and Other Wackos in the UK) is a shockumentary video from the makers of Bumfights. Released in the US on June 21, 2005, it compiles real footage of riots, suicides, executions, and the televised suicide of R. Budd Dwyer. The video was refused classification in the United Kingdom by the British Board of Film Classification (BBFC), which deemed it to present no journalistic, educational, or other justifying context and suggested it may breach the Obscene Publications Act.

Type
Shockumentary video
Release date
June 21, 2005 (US)
Producer
Makers of Bumfights
Classification
Refused classification in the UK by the BBFC
Music by
Happy Campers
Content
Real scenes of death and suffering

Lore & Background

The video was marketed on the Bumfights website store as 'One hour of the sickest images ever put to film.' It includes footage of riots, suicides, executions, and the televised suicide of R. Budd Dwyer. All scenes are described as real scenes of death and suffering. The BBFC noted that the work 'presents a barrage of sensationalist clips, for what appears to be the underlying purpose of providing prurient entertainment' and 'invites the viewer to take sadistic pleasure in death.'

Reader's Guide

Terrorists, Killers and Middle-East Wackos is significant as a controversial example of the shockumentary genre, drawing criticism for its lack of journalistic or educational context. The BBFC's refusal to classify it in the UK highlighted legal and ethical concerns under the Obscene Publications Act. In June 2006, a BBFC spokesman cited the film as an example of 'something the majority of people would want not to view' during discussions about a UK ratings system for online content. The video's association with the Bumfights brand and its eventual removal from the official website underscore its status as a niche, widely condemned artifact of early-2000s exploitation media. Its legacy lies in debates over the regulation of violent online content and the boundaries of free expression.

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