EVIL Has Layers. Colorful, Beautiful, Red Dripping Layers. “No Reason” reviewed! (Unearthed Films / Digital Screener)

On the verge of moving from her quaint apartment, Jennifer begins her morning caring for her son, Nico.  Throughout the morning, her complex neighbors come knocking at her doorstep with unusual behaviors, even so with the mailman who apathetically leaves her bathroom a mess after requesting an urgent need to use the toilet.  After leaving Nico with an elderly woman in an adjacent unit to do some light shopping, Jennifer comes home her son and neighbor not answering the door and figures they went out for a while.  As time passes and her anxiety builds, Jennifer decides to soak in a relaxing bath but when she falls asleep, she awakes amongst a pile of dismembered bodies, subjected to ultra-violent video recordings of the neighbors who she saw earlier, and a masked maestro of anguish to help Jennifer regain life purity through pain.  Through the layers of suffering, the ugliness Jennifer has to endure to survive and find her son might be an awakening she will forever regret. 

From the violence saturated mind of German auteur Olaf Ittenbach comes a battle of conscious, a gore waterlogged vision, in his 2010 blood-shedding shocker, “No Reason.”  Now, I may be over a decade late to the party on this title, but Unearthed Films has brought a newly remastered, fully uncut Blu-ray to physical and virtual retail shelves, reviving the “Legion of the Dead” and “The Burning Moon” filmmaker’s title from the North American grave as the Intergroove Media DVD has been out of print for a long time, and kicking my ass into high gear with diving into the surreal expressionism, splayed into every nook and cranny, of deviated behaviors and splintered thoughts.  “No Reason” is a production of Ittenbach’s IMAS Filmproduktion studios and co-produced by German SOV splatter film connoisseurs, Michael Nezik and Ingo Trendelbernd.

Like Alice traversing a macabre-cladded hell on Earth wonderland is Irene Holzfurtner as the confused lost soul Jennifer  More or less fully naked and bloodied half the story, crossing through portals of layered perdition in order to find her son and saving grace, Holzfurtner has insurmountable perplexity hung across her character’s face in the midst of being plopped into bedlam, taking the character on a journey pain, torment, and enlightenment bare ass naked and covered in blood in a metaphorical rebirth.  Overseeing Jennifer’s trial and tribulations into being brought back reborn as it were is a sadist donning a crude Cthulhu mask and strapped tightly into a medieval BDSM attire who speaks in riddles and verse to sermonize his cathartic guidance.  Markus Hettich towers a monolithic man of pain and pleather, calmly exercising his shrouded authority a healthy amount of sadism, masochism, and sadomasochism in order to undress the falsehood of Jennifer’s split spirit.  Hettich pins an ideal Devil-like antagonist, rupturing through the connective tissues of the psyche with a lingering omnipresence that delivers shivers down the spine.  Mathias Engel, Alexander Gamnitzer, Andreas Pape, Annika Strauss, Ralph Willmann, and Hildegard Kocian make up the supporting cast who are most cooperative being exploited by the violence and nudity that accompany their ill-fated roles of humiliation, torture, and inevitable gruesome death.

Ittenbach obviously brings the gore but the controversial director, who has sparked backlash for glorifying violence, brings a beaming arthouse allure to his “No Reason’s” gargantuan bloodletting.  Layered with multi-colored conjectures point to the unhinged state of a mind, Jennifer endures unspeakable anguish in layers encoded with red, green, and blue, each specifically engineered by the masked man to trigger a response when testing Jennifer’s will; a will to what end is something you’ll need to watch the film to understand.  What I can tell you is that each color stage bares a horrific theme – red is simply the spilling of innocent blood, green is feminine dominance symbolized by BDS&M (a running motif throughout) where uninhibited women urinate on men (explicitly shown), castrate by oral sex, and divulge themselves with lots of male body disfiguration through whips, chains, and other large dominatrix toys, and blue is filled with mutants who are just as ugly on the inside as they are on the out.  Completing each stage costs Jennifer bodily harm as a reparation for staying on the path of enlightenment, the white layer.  With a little money behind the project, Ittenbach’s able to accomplish some fantastically brutal scenes with fleshy prosthetics and I, personally found the intro credits to be insanely power in it’s composition despite the simplicity of it.  Where “No Reason” buckles is the crux of Ittenbach’s artistry with the parable that borders nonsensical guff.  I’m not going to lie, “No Reason” is difficult to follow from the pre-opening credit epilogue home movie montage of Jennifer and her parents frolicking on the grass, praising Jennifer’s smarts at such a young age, to the post-opening credit opening of a naked and bloody Jennifer holding a detective hostage, to the surreal cerebral journey through a timeless purgatory horror house Jennifer finds herself trapped, the segues, if any, often feel omitted and we’re left to assume the rest. 

The brisk 76 minute runtime perfectly balances the right amount of abstract story and gore and, now, “No Reason” has a better reason for your attention with Unearthed Films’ new scan of an uncut Blu-ray release! The May release is presented in a high definition, 1080p, widescreen 1.76:1 aspect ratio. I can’t comment too much on the audio and visuals as a digital screener was only provided, which means there were no extras accompanied with the screener as well. “No Reason” is the first collaboration between Ittenbach and director of photography, Axel Rubbel. The pair went on to work on Ittenbach’s “Savage Love” two years later, but Rubbel has more of an imprint with Ittenbach’s candy-coated eye-popper gorefest with a kaleidoscope of blushes a tinged aberrant from the normal blacks, reds, and browns that blotted onto gore and shock films. The release will include two German language audio track options, a 5.1 surround sound and a stereo 2.0. Both should include English subtitles and, if the Blu-ray is anything like the digital screener, the subtitles are synched well with the dialogue and, from what I can tell, are grammatically error free. My abnormal brain can choke down the free-for-all soul-damaging ultra-violence and gore charcuterie board and Olaf Ittenbach’s “No Reason” fits that bill with a wide berth of exhibited atrocities while also coming up for air by attaching a misdirection substance behind the graphically lurid details of skin ripping from the muscular tissue and flesh lacerated to shreds by a cat-o-nine tails to ease us into the tumultuous mind of a psycho’s path.

“No Reason” available on Uncut Blu-ray!

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!