Boobs. They are the supreme catalyst toward obtaining professional achievement. They are the driving force behind stabling a lustful relationship. They are the cat’s meow for curbed catcalling. For flat chested Betty, a cavernous cleavage praising society doesn’t show her a lick of titty-twisting respect, being the constant butt of a running joke for her asset-less figure, until she schedules a life altering, boob-enhancing appointment with Dr. Thulu, an uncredited and unlicensed plastic surgeon seeking the perfect, wholesome vessel to host her blood hungry, elder world creatures for planet domination. Betty’s implanted funbags are all but fun when the mammary monstrosities begin devouring hounding perverts when getting handsy with Betty’s girls. The diabolical double Ds slowly take control over Betty’s consciousness and will, eventually, take full mastery, but will true love put a permanent road block toward ruling the world?
Horror-comedy “Killer Rack” is a Lovecraftian inspired schlock film from “Slice City” and it’s sequel, “Slime City Massacre,” director “Greg Lamberson and penned by Paul McGinnis, who also has a co-starring role. The slapstick riot embellishes the real life battle of young women’s self-esteem, the constant struggle with the female physique, and with lots and lots of different levels of sexual harassment to the point where “Killer Rack” is basically becomes a social awareness film. Even though “Killer Rack” is blatantly farcical, the representation of men objectifying women is quite scary and Lamberson and McGinnis hone very meticulously on every facet related from gawking to catcalling and from sleaziness to potential rape. The manufactured, boob-infatuated universe McGinnis and Lamberson create isn’t a far stretch from this one with every single scene so ingrained with breast obsession that’s, as an American, I feel almost ashamed of myself for watching “Killer Rack,” but my European bloodline revels in this type of perverse gratification.
Lamberson, also known for his novel publications stemming from the early 2000s, continues his schlep of low-budget filmmaking over the course of three decades as a producer, writer, and director and the refreshing part of his career is that Lamberson has kept the course, providing fans of undiluted horror trash in a resilient body of work with “Killer Rack” being no exception. The ambitious undertaking stars a fresh faced indie actress Jessica Zwolak in the lead sporting the killer rack and Zwolak nails the intended comedy, pulling off the center of gravity gag numerous times post-implant surgery and being able to effectively switch between conscious Betty and puppet Betty. Surrounding Zwolak are collective years of a indie filmmaking experience that solidify Lamberson’s shtick filmmaking including long time industry leader and co-founder of Troma Entertainment, Lloyd Kaufman, being his great idiosyncratic character onscreen, but the buck doesn’t stop there with a roster of vets. The fiendish Dr. Thulu is embraced by one of the genre’s favorite, hard working indie scream queens Debbie Rochon (“Tromeo & Juliet,” “Dollface”) who submerses herself elbows deep into the film’s H.P. Lovecraft mythology. By far, my personal favorite genre star making a brief cameo was Roy Frumkes, the Jim Muro “Street Trash” businessman who melts away in a glorious death, reliving that well-known death scene once again but sprayed in the face this time with toxic breast milk!
“Killer Rack” nestles snuggly in between the two dirty pillows that are indie pop culture and social undercurrents, but only hardcore fans who follow this particular niche filmmaking will understand and enjoy the special effects puppetry, the outlandish absurdity, and the homage barrage of references. Lamberson and McGinnis’ 2015 horror-comedy was completely made for us, the dedicated fans, and that’s also the downfall as many popcorn cinema goers will become lost and probably offended, especially in this particular modern culture. That’s why we should embrace actresses like Debbie Rochon, Jessica Zwolak, Brooke Lewis, and Brittani Hare for being strong and good-natured actresses for being subjected to culturally deplorable material delivered by the actors, such as by the one-man show that is Michael Thurber (“Sins of Dracula,” “Model Hunger”). The play on words titled film follows a very simple, if not already on some obsolete plane, structure of comedy that’s not necessarily a negative aspect of the film, but rather sets a modest tone for the whole blood thirsty boobies concept.
Akin to Mitchell Lichtenstein’s “Teeth,” the Slaughtered Lamp Productions produced and Camp Motion Pictures home entertainment distributed “Killer Rack” provides a similar feministic horror in a screwball, dystopian world. The unrated DVD presents the film in an anamoprhic widescreen 1.78:1 aspect ratio with image quality that really details the budget. Flesh tones look natural, blacks are fairly solid, and no sign of major aliasing or compression issues. The English 2.0 audio sustains clean and clear quality throughout with forefront dialogue and appropriates ambient and sound effects properly during sequences of Chtulhu inspired bone crunching, blood splattering, and torso piercing. Bonus features are nicely stacked for “Killer Rack,” including a commentary track, deleted scenes, a behind-the-scenes featurette, a bonus short film “Kill the B!tch” and “The Camper,” and trailers. “Killer Rack” fondles around the sexual harassment issues and hilariously denaturalizes, as if implants weren’t already unnatural, with a diabolical pair of creature infested tatas!”