A Pair of Evil Jugs Seek to Take Over the World! “Killer Rack” review!

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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?
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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.
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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!
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“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.
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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!”

How can you say no to a “Killer Rack!” Buy it here at Amazon.com!

Put Evil Into Submission! “From Parts Unknown” review!

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Charlie, the daughter of a famed pro-wrestler named Daddy Bison, witnesses the tragic and accidental decapitation death of her masked father while in the ring. Years later, Charlie labors for a video game corporation with underhanded values, but she still feels the call to wrestling, secretly competing and honoring her father’s memory in moonlight matches despite her lover’s wishes. When her corrupt employer illegal obtains Nano byte technology to engineer into their latest wrestling video game entitled ‘From Parts Unknown’ in order to financially steal from gamers, Charlie accidently becomes more involved than just being an innocent bystander. A side effect to the Nano bytes turns people into a horde of flesh hungry monsters on the cusp of being let loose and only Charlie can pile drive a stop to the infected corporate white-collar workers and vicious female wrestlers from embarking on a worldwide takeover.
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It’s Bloggin’ Evil is familiar with director Daniel Armstrong’s work, reviewing the Australian born director’s 2013 roller derby slasher “MurderDrome” on the Camp Motion Picture’s home entertainment label. Armstrong’s latest horror installment, 2015 released “From Parts Unknown: Fight Like a Girl,” blends a healthy dose of wrestling into the terror folds. However, this body slamming, drop kicking horror film was produced and completed by 2009, years before “MurderDrome” hit the market, and was shelved in a period of postponement because of post-production reasons, but the Strongman Pictures team bouts with more than half a decade of delays to eventually release “From Parts Unknown: Fight Like a Girl,” a complete horror-comedy battle royal!
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With a DIY façade, a talented actor pool dedicates themselves to undertake the high flying, death defying professional wrestling moves of PCW, Professional Championship Wrestling, in Australia and, I must confess, the actors looked legit. There’s an indescribable amount of pleasure and respect that goes into actors braving the chance of injury and accomplishing their own stunt work. Kudos to lead actress Jenna Dwyer for her stunt work to which in an example of her character, Charlie, is air-flung across the square ring and into a metal cage and she falls behind the ropes, landing hard on the mat below. The stunt looked fantastic. To coincide with the physical performances, Armstrong’s script uses slapstick comedy that’s heavy on the satirical undertones. Ross Ditcham’s a good character to spotlight as his role of Frank is the story’s buffoon, branded as being the best friend who doesn’t get the heroine girl of his dreams while running wildly whenever danger, or a brazen female supervisor, is hanging on his coattails.
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The combination of performance and wit does hunker slightly from being overshadowed by the wonky cinematography. Every applied color of the rainbow saturates various scenes to, perhaps, wash away the dull gray and white tones of the minimalistic warehouse location or to attempt to upscale production value, but the extreme use of this method conflicts with sharp image details, leaving an opaque and blotchy picture. There’s also some odd framing from either the production or postproduction distribution that’s disrupts the clarity of the actions in the scenes. On the plus side, a solid, passable effort was put forth for the gory special effects, especially when Josh Futcher’s Misha violently implodes the head in of one of the henchwomen with a fire extinguisher, splattering upward a healthy amount of blood while Misha quoting, many times, Ash from “Army of the Darkness.” Tack on superimposed electric current superpowers, a tactical high-powered Uzi, and a little person donning a luchador mask and tights and “From Parts Unknown” tickles all the right parts of your delinquent, shameless senses.


Story wise, a loose introduction semi-torpedoes the backend of Charlie’s growth and embattlements, albeit the killer effects and various degrees of solid acting. The convoluted scenes of stealing the Nano bytes and sprinkled in segments of the Bison Daddy’s fate attempt to set up two simultaneous merging narratives that end up not meshing well or delivering the intended message. After the progression surpasses the Nano Byte mishap, the story starts to take shape, forming more coherently and appropriately to pit our lovely Charlie against an apocalyptic foe, setting up define characters, and setting the stage for an all out slobber-knocker! When Charlie and her mortal allies have the odds against them when rivaled against superhuman opponents, a clear indication that’s just more than good versus evil. Under the surface, Charlie is faced with life adversaries: her unethical boss, an advantage taking supervisor, and other female wrestlers. All of which become flesh eating maniacs and want to rip Charlie apart.
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“From Parts Unknown: Fight Like a Girl” has pinned a DVD distributor with the indie label Camp Motion Pictures. The not rated DVD contains a short film “Post-Apocalyptic Chic,” “Fight Like A Girl” music video, Haunted by Humans Music Video, Demented music video, and a trailer vault. Like previously mentioned, the posterized video quality is noticeable within the confines of darker color hues and, especially, in the blacks. The LCPM 2.0 mix audio quality goes in and out with rocky levels of dialogue and ambiance. Graced with an ozploitation with great collaged cover art, Daniel Armstrong’s “From Parts Unknown” and Camp Motion Pictures are a wrestling match made in a hell in a cell! The best wrestling horror film since Mexico’s El Santo films!

“From Parts Unknown” on Amazon.com!

An Evil Hangover is No Match Against…”Rotgut” review!

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Six patrons become trapped inside a dilapidating New Mexico drinking hole when tainted Mexican tequila infests an unlucky boozer, turning him into a host for flesh-eating larvae and into an unwilling hand against the rest in seeking desperately for more flesh to feast upon. With the back and front doors inoperable and the phone lines dead due to lack of payment, the bar regulars must use every ounce of their fleeting sobriety and every aspect of the small hole in the wall bar to keep hope carbonated and afloat if they want to escape alive.
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If you’re a fan of “Night of the Creeps,” “Slugs,” or “Slither,” this campy creepy-crawler will be your go-to session brew of choice because, finally, 2012’s “Rotgut” infests inside a home video distributor, courtesy of always delightful Camp Motion Picture. Director Billy Garberina helms the charge collaborating with another of Devin O’Leary’s scribed films involving a drinking establishment’s handful of thirsty-allured anti-heroes finding themselves literally fighting through their inebriated state against almost exactly the same intoxicating liquid they so desperately crave. Sure beats the hell out of an AA meeting.
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“Rotgut,” simply put, is just not another run-of-the-mill creature film, oozing a path toward lovers of the said genre while still managing to follow a familiar suit within a typical bar location that becomes the death ensnarement, but this time around, a congregation of alcoholics are the hapless victims that are pitted up against the odds, similar to that of Robert Rodriguez’s “From Dusk till Dawn” and John Gulager’s “Feast,” but with more enticing and gross body horror and less antagonizing vampires and monsters.
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Structurally, O’Leary individually sets up the players – Leon, Tom, Sloppy, Verna, Deena, Allen, and The Professor – to instill a developing persona or just provide an interesting backstory into each body that adds flavor to their character that would evidently punch you in the face when that character bites the fateful bullet and instead of creating good natured, outstanding personalities to fight a ghastly force, as if to underline good versus evil, the roster consists of deplorable and degenerative drunks embodied with past, present, and future hiccups and are on the cusp of not being redeemable toward being a part of society until faced with life and death choices to expose their true nature. Then, there is trio of ATF officers who are literal to each of the words of the acronym they represent; one officer smokes cigarettes, another drinks out of a flask, and the last official carries a sidearm. The dialogue-stricken characters need no exposition as they’re cleverly written into the story that’s already exchanges heavy in confabulation amongst the main roles mentioned above.
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The impressiveness with Hank Carlson and teams’ practical effects don’t go unnoticed while, at the same time, the composite shots from visual effects artist Luke Fitch were just as effective. Both departments relayed the visceral consuming nature of the worms, splattering eye-popping blood everywhere, and transmitting their antibiosis organism through some fairly gnarly ways. Working with sluggishly minuscule organisms, whether digital, inanimately practically, or real, can be problematic, but Gaberina and team had the precision and the talent that made “Rotgut” outlandishly enjoyable with a half gallon handle of smeared blood slicked over the cast including Jeremy Owen, Aaron Worley, Megan Pribyl, Paul Alsing, Merritt Glover, Isreal Wright, and Whitney Moore.
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Four years have swiftly gone by since this film quietly made debut in 2012 and has finally landed onto DVD from the fine folks at Camp Motion Pictures! “Rotgut” has undeservingly gone under the radar, but it shall no more, gifting audiences with supreme worm mayhem and bloodshed. The not rated DVD is presented in a 16×9 widescreen format with bonus features including a trailer vault and a lengthy behind-the-scenes featurette that displays the good times, and sometimes stressful times, of independent filmmaking. In the end, “Rotgut” come out on top with the gooiest, slimiest, and stickiest creature feature this side of the 2010.

You can BUY “Rotgut” at Amazon! Let it slither into your soul!

Evil Rollerblades Over Your Neck! “Murderdrome” review!


Cherry Skye and her all girl roller derby team, The Alamos, find themselves gravely threatened by a summoned vengeful demon named Mamma Skate, the best and brutalist skater from the MurderDrome rink 20 years ago who was viciously murdered ritualistically by a Satanic-obsessed rival. Called back from Hell by a mystical charm necklace once in her possession, Mamma Skate rollerblades through the night, cleaving her way through the roughest of roller derby girls, and seeking to possess the soul of charm’s current owner, Cherry Skye, so she may live once again!
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In 2013, Australian director Daniel Armstrong had a vision. A vision that includes skimpy-cladded, brazenly jagged roller derby girls, a resurrected she-demon wielding a butcher’s cleaver, and a helluva lot of rock-n-roll! A joint effort between Strongman Pictures and a slow drip of miscellaneous funding constructs that very exact vision, originally not conceived to have been a feature length film. Writing along side Trent Schwarz and Louise Monnington, who also had a co-starring role, Armstrong’s rockabilly ozploitation is a blood diamond in the Australian under bush with kangaroo pouches full of ocker comedy and skater mayhem. However, Armstrong’s terrorizing roller-demon imagery sat on the edge of being nonexistent and his film suffers the associated consequences of financial hardships and production problems. “MurderDrome” has a vibe more akin to a music video with interjections of storyline in between various psychobilly laid tracks that’s perhaps a pure result of the film’s financial inability to fill the void, but the style’s unique outline contends strongly in independent or abstract cinema outlets. Aside from the atypical structure, “MurderDrome,” granted, has some sloppy and choppy editing that disrupt not only the opening credits, but also waters down a death scene or two and affects character motivations.
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Australian accents are thick coming from an indigenous talent of actors led by Amber Sajben, a downright heaven-sent leading lady starring as Cherry Skye. With her cutesy pig tails, high-knee fish stockings, and an acute fascination with always popping bits of food in her mouth, her contrast with the dialogue-stricken antagonist and steel, chain, and blade attired roller-demon badass Momma Skate, portrayed by Be-On The-Rocks (Yes, you read that right), redefines the old phrase a game of cat-and-mouse that doesn’t quite fit the overall artistic style. When a group of rough and tough roller derby girls who elbow check others for the fun of the sport, some fight should commence without being said; instead, the characters who proudly carry the names Cherry Skye, Psych, Thrusty, Trans Em, Princess Bitchface, and Hell Grazer option to scurry without giving a second thought to bucking up to a sole skating murderess. Armstrong subsides more toward a comedy route peppered with a resilience attitude toward the situation with co-writer Louise Monnington leading the charge in her character’s crude humor, especially having Pysch, her character, note descriptively what exactly is ‘duck butter.’ Urban Dictionary has you covered if you care to look up the term. The cast rounds out with Kat Anderson, Rachael Blackwood, Jake Brown, Anthony Cincotta, Gerry Mahoney, Max Marchione, Daisy Mastermann, Dayna Seville, and Laura Soall.
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Plot integrity is flimsy at best striking influentially at the development of certain characters, most importantly with villain Momma Skate. Her conjuring doesn’t go through the comprehensive ringer as the demoness just appears without establishing a connection with the charm necklace bringing her demonic lankiness above ground. Max Marchione’s The Janitor bares some importance that whizzes like air out of a rapidly deflating balloon as we learn less-by-less about this character throughout the duration of the film. The Janitor’s key mentoring role wavers, resulting in just one more confusion aspect into the blend. Remaining character developments are fairly cut and dry sans forgetting their eclectic attire, electrifying neon makeup, radical hairstyles, and overall lifestyles, but expansions upon the roles could have been more favorable for the Aussie production.
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Camp Motion Pictures and Alternative Cinema skate the “MurderDrome” DVD right onto the North American market rink, providing the film’s first region one release. Extras are abundant with music videos from The Dark Shadows and other bands, a gag-reel, and a behind-the-scenes special effects featurette. The 72-minute feature is presented in a widescreen 16×9 aspect ratio that’s a bit hazy at times on the grayscale, but adds charm to the bargain bin brimstone fire and smoke computerized effects that truly defines Armstrong’s slasher as a campy ozploitation with Italian Giallo undertones and a supernatural core. “MurderDrome” rocks, literally, with great pyschobilly tracks from The Jacks, The Sin & Tonics, and The Dark Shadows to name a few of the head banging headliners on the soundtrack in the confines of a cavity heavy plot for a film more suitable as a music video than a feature flick. In the end, “MurderDrome” provides an endearing look upon horror even with all the obvious flaws, but renders some nice moments of searing barbarity overshadowing, just slightly, some of the misfires. Lastly, if you like girls in skates, who never take them off at any point, then “MurderDrome” is right for you!
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Buy “MurderDrome” on DVD at Amazon!