EVIL Can Never Replace Love in “After Midnight” reviewed! (Umbrella Entertainment / DVD)


Well known country boy Hank has everything he could ever need in the small, rural Florida town: having an establish family lineage, being the owner of a local bar hotspot, and obtaining the love of the beautiful Abby. Their gleaming happiness suddenly goes dim when Abby abruptly takes off, leaving a note with little information of her whereabouts or her plans. Fraught in her absence, Hank drinks himself into a stupor most nights of romantic nostalgia while also fending off his rustic home from a beast out of the surrounding woods that continuously scratches at his front door nightly. Hank’s friends believe he’s suffering a mild mental break as night-after-night, the snarling beast evades Hank every effort to capture and kill it.

“After Midnight” is a sheering melodious and delicately programed romance-horror from “The Battery” writer-director Jeremy Gardner allotting co-directorial duties again with continuous collaboration beside Christian Stella. As Gardner’s third film in the director’s chair, second inside the realm of horror, “After Midnight” brandishes more a sappy love story that sings the tune of a love lost warrior where the relationship woes lie within the deepest, darkest corners of himself rather than being a frontline horror sprinkled lightly with dusted coating of amorous renewal. “After Midnight” is a topsy-turvy monster movie not for an insouciant genre fan who rather skim the surface for blood on the topsoil than dig feverously for the originating root. If you’re also a fan of the mysteriously acclaimed, H.P. Lovecraft-inspired “The Endless,” the filmmakers behind that film – David Lawson, Aaron Moorhead, and Justin Benson – produce “After Midnight” under their Rustic Films label in association with Vested Interest, Cranked Up Films, and Kavya Films, casting that querying memento clinging like a foreboding, nagging scratch needing to be itched.

Not only is Gardner the director, he also stars as Hank, enduring the multi-hat involvement in his films in thematic fashion from his previous films, spearheading the roles in “The Battery” and “Tex Montana Will Survive!,” and Gardner has also branched out beyond his work, having roles in the visceral Joe Begos’ films “Bliss” and “The Mind’s Eye.” Gardner sports his common wear of a U-shaped V-neck t-shirt and bushy beard overtop his large frame and wields a sharp tongue, whiplashing small witticisms as he charms his serenading rustic charisma upon Brea Grant as Abby. The “Dead Night” actress enacts every man’s inherent fear of being lost without their better half when Abby hightails from Hank’s steadfast stance on life. Grant provides a flood of emotional drought through a series of Hanks’ melancholy, good times flashbacks that provide backstory fuel to Hanks’ quickly withering grounded state. Gardner and Grant’s chemistry eerily dons the routine life span of young love and weary complacency without so much showing the beat work argumentative discussions and differences of a diminishing relationship; their natural banter never derails even amongst a bedeviling beast with nightly visitations on a drained Hanks’ doorstep. “After Midnight” fleshes out with a cast of superb supporting roles with nearly Henry Zebrowski (“Cut Shoot Kill”) stealing the show as a half-wit yokel, Justin Benson (“The Endless”), Ashley Song, Nicola Masciotra, Taylor Zaudtke, and creature performer Keith Arbuthnot as the man in the monster suit.

Speaking of the monster suit, the unknown origin creature is very Guillermo del Toro-esque with a quasi-rubbery look, but still renders terribly real with the puppetry facial expressions and Keith Arbuthnot contorting his body to exuberate natural movements. However, don’t look to be thrilled by a ferocious beast as the constant the source of contention. It’s more of an afterthought, a pleasant afterthought, filling Hank’s Abby void or is it? It’s a question you’ll be contemplating when the credits role when a monkey wrench finale disrupts your premediated blue print scheme of a reason for the creature’s existence. Romance and melancholy cross paths in an overwhelming heap of love sickness, guilt, disappointment, and jealousy in a well thought out, smart dialogued version of a self-growth narrative.

There always seems to a malevolent monster behind the scenes, perpetrating the demise of a flourishing relationship exemplified by a beautifully wicked allegory in “After Midnight” distributed onto DVD home video by Umbrella Entertainment. The transfer is presented in the original widescreen, 2.35:1 aspect ratio, on a region 4, 83 minute runtime disc. The presentation is virtually flawless with palatable natural coloring, gleaming southern-sweat coated, natural looking skin tones, and overall details with Hank, and Hank’s house, looking specifically grimy and unkempt. Greenery is of a brown lush backdropped inside what could be anywhere small town America. The English language 5.1 Dolby Digital surround sound audio renders a nice range and depth with the monster’s muffled scratching and growling outside the door, the shotgun blasts are powerfully exalting, and the dialogue clearly couriers through all relationship qualms and Hanks droll dialogue. As of many Umbrella Entertainment standard feature releases, there are no bonus features nor a static menu. “After Midnight” is a contagious love story for not it’s mushy, heartfelt, weepie doting into the tears of self-pity, but for that lingering presence of sinister cynicism the monster epitomizes, a stark terror scratching every night under the skin until the unbearable hole in our hearts is finally sated by love’s return.

“After Midnight” available on DVD at Amazon

EVIL No Longer Swims Only in the Water! “Bad CGI Sharks” reviewed! (Sub Rosa Studios / DVD)


Living hesitant, unconfidently, and unfulfilled in Hollywood, California, Matthew finds himself fired by his employer after experiencing a promotion interview from hell, but that’s not the worst of his problems. Earlier the same day, Matthew learns his estranged older brother, a free-spirited and enthusiastic Jason, has been kicked out of his parents’ home, provided a plane ticket, and sent to live with him possibly forever. The estranged brothers finally reunite after years apart and Jason infiltrates back into Matthew’s uptight life their childhood obsession with sharks to try and finish a rough, shark-thriller script from their past, entitled “Sharks Outta Water.” When a magical movie muse decides to grant them their boyhood cinematic aspiration, the sudden appearance of a poorly render man-eating shark floats about their neighborhood streets, hunting down the brothers during a night of computer imagery terror limned with shoddy shark frenzies.

Out in the surf of the internet, a list lurks just beneath the dark waters of the web. A list containing a flooded genre of some of the worst shark movies detrimental to mankind’s inherent fear of a primordial aquatic creature that was once known to be the ocean’s apex predator. To save us from the cold, bleak shark banality, “Bad CGI Sharks” absorbs all toxic mundane trash skimming the vast global networks and big picture boxes to recourse from the singular trained thought that sharks are much more than a punching bag of relapsed rendered dogfish with jaws. Written, produced, and directed by MaJaMa, an alias for Matthew Ellsworth (Ma), Jason Ellsworth (Ja), and Matteo Molinari (Ma), “Bad CGI Sharks” flaunts a straight-to-video, no-budget comedy-horror in the face of whoever is willing to once again put themselves in front of a speeding bad shark movie train; yet, the filmmaking trio embark on a creative, meta journey risky with little blood shed and a swarm of animated things that mark somewhat of a resemblance to sharks. What crests is insightful satirical wit over the ostentatious flare of gratuitous explosion, nudity, and monstrous sharks.

In keeping to the budget, MaJaMa already wear many hats behind the camera. To extend even further their invested working capital, the filmmakers also star in the lead roles, virtually as themselves, to surely hammer down a film entitled “Bad CGI Sharks” in their own brand of humor. We begin with Matteo Molinari, the Genova, Italy born actor who had a small role in 1994’s “Silence of the Hams,” a spoof starring Dom DeLuise and Billy Zane derived from the Jonathan Demme’s Hannibal Lector thriller, “Silence of the Lambs,” if the title itself wasn’t self-evident enough. Molinari is the only main lead not using his namesake and, instead, becomes the magical movie wizard Bernardo with his muse movie clapper. Bernardo was built for Molinari as the two are synonymous to each other’s manners, speech, and quirky simpatico charm, resulting in an innocent, mischievous movie imp to be the bridge connecting the gulf between Jason and Matthew’s polarizing characters. Jason’s a severe caricature of hyperactivity and of someone whose stuck in the past and while Jason Ellsworth has his moments, without his brother Matthew’s stern, grown-up, and spruced up onscreen self, the dynamic just wouldn’t be as potent as Matthew is essentially the activator spray to Jason’s gluey personality. The cast concludes with Jenn Liu (“Stranger in the House”), Josh Sterling, and Shaun Landry.

Tiptoeing around the fringes of being a stoner film, “Bad CGI Sharks” pushes a hyper-meta reframe of how shark movies, or perhaps the film descends deeper into the water molecule level of just the shark representation itself, should be brought back to the shores of reality from the watery depths of Davy Jones’ poorly rendered locker. Coinciding with crystallizing the shark-sploitation category is a more tender note of embrace with relatable themes of rediscovering brotherhood and mending broken bonds. Matthew’s parental manufactured disgust with his older, yet childlike, brother casts a large, dark cloud that seizes up any kind of affection and the floating shark, the symbolic dream of their childhood, tests their relationship, motivating the the character arches in the face of “Bad CGI Sharks.” Amongst the witty banter and flying carnivorous fish, “Bad CGI Sharks” shows innate signs of no-budget difficulty such as story pacing where the middle sags with Jason and Matthew running around Hollywood for awhile in a progression stagnation and there lies some early editing miscues with audio mixing and mic work. Like a shark, “Bad CGI Sharks” needs to keep swimming or else it’ll upend and die; luckily, MaJaMa saves the cinematic beast with the shark devours the internet and all bets are off!

If you like your sharks floating and roaring, then “Bad CGI Sharks” DVD home video is for you, sailor, courtesy of SRS Cinema and MVDVisual. The not rated, region free DVD is presented in a widescreen, 16:9 aspect ratio, with, an IMDB listed, Sony a75 II Mirrorless camera complete with a “vintage” lens. Most of the image transpires cleanly and sharp, even the inorganic, floating sharks look fair in their farce facade, and with the specialized lens seemingly cornered to just around the Bernardo’s outer shell host duties and intermission skit and also in the initial attack sequence in which is the only scene with any kind blood shed. The English language audio tracks include a 5.1 surround sound mix and a stereo mix. The audiophiles will find solace in knowing “Bad CGI Sharks” doesn’t mean bad audio tracks. Dialogue has clarity throughout, depth and range remains steady, and there’s negligible hum electric feedback. Bonus features include a commentary track with MaJaMa, a retrograde toy commercial for all the characters, the teaser trailer, trailer, and SRS promoted trailers. Though lacking bloody chum, “Bad CGI Sharks” has bite albeit with more comedy than creature feature horror, fleshing out real world problems with hilarity in a cheapjack rendition of a killer shark.

Chomp! Chomp! Chomp!

The Only Way EVIL Would Go Out With a Virgin! “Double Date” review!


Recently dumped and severely panicked around women, the prospect of ever dating again seems like a long shot to Jim. Self-assured Alex sees the opposite for his best mate as a golden opportunity for him to get Jim laid before his 30th birthday. When Alex finally coerces and assists Jim on scoring a double date with two sisters, Jim can’t believe his stuttering awkwardness actually proved fruitful, but little do Jim and Alex know that the sisters, Kitty and Lulu, are out for blood. The sisters seek a virgin to sacrifice to bring their long deceased father back from the dead and to complete their trio-family once again at the expense of Jim’s involuntary celibate lifestyle. Night clubs, fast cars, and visits to the parents take the four through a series of dark and drug fueled misadventures and the unexpected moment of falling love that makes this double date one to die for!

First dates are always inherently frightening. The idea of being alone with a stranger, who you’re kind of attractive to and trying to impress, yet don’t really know a single thing about them, can be daunting, if not paralyzing. First date in a double date is supposed to ease that overwhelming fear and take the strain off from the lack of possible interest in the other person, but for director Benjamin Barfoot’s amusing horror-comedy, “Double Date,” all bets are off and all tensions are on edge when dating goal sights are deadly different. Danny Morgan pens a comedic gem in which he stars as the bumbling virgin, Jim, joining his long time collaborating partner, Barfoot, to complete their first feature film together. The British made and produced film gives glimpses of London’s fung shui through the pubs, clubs, and overall eclectic nightlife to the aristocratic mansion homes to the likes of “Downton Abbey” resulting in a slight blend of the past and present into a well-oiled story embodied with terror and fun.

Funny man Danny Morgan stars as the awkward and blundering Jim whose plagued with fumbling qualities around women that usually leaves him somewhere in the inner circle of the friend zone. Morgan brilliant showcases Jim’s stunting inadequacies that eventually come to flower while maintaining a solid naturally slapstick presence of self-deprecation that turns into a full-blown bull in a china shop. The scene with his parents and himself singing his birthday song in front Lulu in audience, while tripping on drugs, is cathartically enjoyable and a riot of inner laughter. Morgan’s joined by “Being Human” actor, Michael Socha, as Jim’s very good friend, but all talk confident friend, Alex. Alex is certainly the yang to Jim’s yin on screen and off screen as Morgan and Socha have a certifiably fresh dynamic that makes them very entertaining to digest. Socha brings a different kind of comical energy that compliments Morgan’s dry humor that diversifies the content. In fact, all the characters bring a little something different to the table, such as with the sisters, Kitty and Lulu, played respectively by Kelly Wenham (“Dracula: The Dark Prince”) and Georgia Groome (“The Cottage”). Training like an elite athlete, Wenham takes the role to heart being a dark and beautiful villain that’s inarguably alluring as she’s cold and deadly. The Cheshire born actress, whom hands down can be the next Megan Fox, sinks her teeth into the performance and excels in the physical role that’s showcases her range of talent. Then, there’s Georgie Groome as Lulu, the timid opposite of Kitty. Also known as the girlfriend of Harry Potter’s Rupert Grint, she nails being the one in the shadows, relinquishing control mostly to Wenham for most of the film, and then slowly build character confidence and strength.

“Double Date” is a great blend of horror and comedy. The climax has this satirical and retro quality about that seems unfitting, but is stitched carefully to fit without bursting and popping a seam (or scene?) to the point of overly obtrusive. Benjamin Barfoot also has a keen eye to capture the pivotal and incandescent moments that make scenarios have more an impact, whether that being a facial expression, an awkward dance, or any kind of verbal or action exchange between characters. Doesn’t hurt that Barfoot’s rapport with Danny Morgan is a relationship riding the same director-actor level plane, similar to the dynamics between Adam McKay and Will Ferrell, with a synonymous cerebral synergy that clicks well for the silver screen.

From the independent film company who delivered “The Man Who Killed Hitler and then the Bigfoot,” Sparky Pictures releases the Screen International/FrighFest awarding winning horror-comedy, “Double Date”, onto digital, DVD, and Blu-ray come September 9th in the United Kingdom. Unfortunately, an in-depth review of the video and audio specifications will not be covered as a BD screener disc was provided, but what can be said about the soundtrack, performed by GOAT, is pure primitive gold and the appearance by Big Narstie is equally solid. Bonus material, on this check disc, included an extensive behind-the-scenes, from conception to wrap, of Danny Morgan and Benjamin Barfoot’s roller-coasting adventure on getting their film made. There’s also a commentary with cast and crew, deleted scenes, photo gallery, and trailers. “Double Date” is a true black comedy and a whole lot of fun that should skyrocket filmmakers Danny Morgan and Benjamin Barfoot toward future endeavors as a rising, powerhouse duo, contending to be the next hit in the satirical category.

Amazon has Double Date! Own it today!

EVIL Gets Schooled! “Slaughterhouse Rulez!” Review!


Slaughterhouse boarding school is an aristocratic playground housing some of the children of Britain’s most elite families. Alongside institutional studies, a long list of leisure activities are available, such as junior military, golf, and chess just to name a few. For new pupil Don Wallace, attending Slaughterhouse was just to please his mom’s persistence that soon sparked mixed feelings about his new surroundings between finding his place in the student vicious hierarchy and being in the company of the girl of his dreams: Clemsie Lawrence. The school also has a new headmaster, one who has made lucrative dealings with a fracking company for the extraction of natural gas at the outer rim of school grounds, but the seismic tremors caused by fracking result in large sinkhole, unleashing a horde of underground dwelling beasts that run rampant on campus grounds hungry for a meaty school lunch. It’s up to Don Wallace and his misfit school chums, plus one miserable school educator, to fight back in order to escape with their lives.

Boarding schools, especially the British ones, inherently have an intimidating nature about them and if the comfort decimating idea of being housed away from your parents isn’t frightening enough, the upper-crust cliques and sovereign clubs are an assumed terrorizing, foreboding thought – just look at all the paranormal and murderous boarding school incidents that happened to Jennifer Connolly’s character in “Phenomena” (aka “Creepers”). In Crispian Mills’ sophomore written and directed feature, also co-written with Henry Fitzherbert, “Slaughterhouse Rulez” is another boarding school that can be chalked up as being a killer institution adding big ugly beasts shredding through the student body as the antagonistic creature in this feature. The 2018 comedy-action-horror is produced in the UK as the first film from the Simon Pegg and Nick Frost production company, Stolen Picture. Pegg and Frost have a long and hilarious history together, breaking out internationally with the modern classic “Shaun of the Dead” and continuously worked together on various projects throughout the last 19 years since their George A Romero inspired success. The usually buddy comedy duo have reunited once again for Mills “Slaughterhouse Rulez” as supporting, yet memorable, characters that do steal the show.

“Slaughterhouse Rulez” mainly focuses around Don Wallace, the new teen on the scene who tries to live up to this standards his deceased father’s worked hard for, and Wallace, played by “Peaky Blinders” regular Finn Cole, goes through the motions of being the new kid in school that quickly discovers who his enemies are, as an outsider forced to be friend with the school black sheep, and falls heads over heels for the most popular girl on campus. Cole’s especially charming for most of the performance, but can flip his character to being weak in the knees and want to be reclusive when pushed too hard. Opposite love interest, Clemsie Lawrence (Hermione Corfield of “Pride and Prejudice and Zombies”), provides little insight into her perceptions of Wallace as the character does a 180 degree regarding her feelings for him, but Clemsie sure does have reason to withhold how she really feels by being a Goddess and being under surveillance by Clegg, a legacy God who takes his title literally as a divinity itself and has a sadistic iron fist for those who buy their way into Slaughterhouse. Clegg is a stone-faced psychopath performed very blunt by Tom Rhys Harries Wallace’s friend by roommate association, Willoughby Blake, is a social outcast who loves to live in isolation. Asa Butterfield, from “The Wolfman” remake and “Ender’s Game,” sizes up Willoughby crutched by depression and drugs as the most complex character with a dreadful secret. “Slaughterhouse Rulez” continues with an amazing lineup of talent that include Michael Sheen (“Underworld” franchise), Margot Robbie (“Suicide Squad”), Isabella Laughland (“Harry Potter” franchise), Kit Connor, Jamie Blackley (“Vampyr”), and, of course, Simon Pegg and Nick Frost.

Mills’ anti-fracking and subterranean monster flick isn’t all action and blood. For the first 2/3 of “Slaughterhouse Rules,” the filmmaker initially barely hints at a creature feature and harnesses to express his inner John Hughes with his attempt at a coming-to-age horror-comedy bursting with adolescent complexities, such as drug use, depression, suicide, bullying, love, adult and peer pressure, social differences, and so forth, that becomes heavily cloaked in humor and horror in the same vein as “Shaun of the Dead.” All the buildup of the teen dynamic comes to a screeching halt; literally, a bloodthirsty monster screeching when unearthed from the fracking folly killed, in a whole bunch of various degrees of the term, all the pre-apocalyptic adolescent shrapnel and turned it on its head as a means of overcoming the difficulties of the Slaughterhouse boarding school, relinquishing the difficulties into a honky-dory finale.

PER CAEDES AD ASTRA! “Through adversity to the stars” does the Stolen Picture produced “Slaughterhouse Rulez” find itself on DVD courtesy of Sony Pictures Home Entertainment. Presented in an anamorphic widescreen, 2.39:1 aspect ratio, the digital picture maintains a rather seamless presentation though I though there could have been a little more pop in the coloring. Director of photography, John De Borman, did a phenomenal job with the lighting through the woods, the school grounds, and the labyrinth maze under the school; a reminiscing aspect from his earlier work in Stephen Norrington’s “Death Machine.” The English 5.1 Dolby Digital audio track caters to every whim. Range and depth were good, especially with the beasts’ roars/howls. Dialogue is prominent, yet I still have a hard time with the English accent. Also available is an English Audio Description Track, French (PAR), Spanish 5.1 Dolby Digital, and English, English SDH, French and Spanish subtitles for a film that runs 104 minutes. Unfortunately, there is no bonus material. “Slaughterhouse Rulez” has the Pegg/Frost humor that we’re all now familiar with and still retains the funny, even if some of it is British-ly dry! With that said, Crispian Mills’ film observes adolescent behavior while also being blood splattering entertainment through the razor sharps jaws of the hounds from fracking hell!

Now available on DVD!

Evil Will Kill for a Thousand Likes! “Tragedy Girls” review!


A small mid-western town has been terrorized by a string of gruesome murders and two local high school girls, Sadie and McKayla, seek to lure the killer out to not stop his onslaught, but to be put under his machete wielding wing. The best friends use their twitter page, @TragedyGirls, to platform their grisly kills as devastating tragedies and to be supportive outreaches in order to be beloved by all and to obtain social media stardom as a facade over being iconically elusive serial killers, but when their plan to capture a mentor fails, a wedge drives between them when Sadie begins to fall for longtime friend, and video editor for their twitter page, Jordan Welch. That’s all the fuel needed to spark McKayla into a deadly paroxysm in order to get her best sociopathic friend back by her side.

“Tragedy Girls” is the uptempo horror-comedy by writer-director Tyler MacIntyre along with fellow co-writer Chris Lee Hill, both whom previously helmed another horror-comedy entitled “Patchwork” in 2015. “Tragedy Girls” aims to put the slasher genre on it’s head by turning what should be two sweet high school girls into the sadistic hunters instead of the usual genre trope of hapless prey and incorporate the dark side of social media, using platforms, such as Twitter, to gain notoriety through exploitation of others’ very lives, but the use of social media doesn’t sticker MacIntyre’s film as tech horror. Instead, typical ditzy-dynamic adolescent drama is integrated into the gory melee Sadie and MacKayla fabricate for fandom. There’s plenty of blood and death to go around through a mix bag of slaughter with some being inspired by other horror films, channelling such classic as “Friday the 13th” and “Carrie.”

“Deadpool’s” Negasonic Teenage Warhead, Brianna Hildebrand, and Alexandra Shipp, who’s also a Marvel superhero in X-Men franchise as Storm in “X-Men: Apocalypse,” star as besties Sadie and MacKayla. Hildebrand and Shipp are doubly frightening as two sociopathic killers and equally as scary as silver screen teenage girls glued to their phones while keeping up with their good fashion sense, but their pixie cut and cheerleader personas are as embellished as their underlining dark craft to make “Tragedy Girls” over-the-top and shocking on a “Save by the Bell” level. Though the two are stone cold, homicidal maniacs, a love interest is added for Sadie. The “The Hunger Games'” Jack Quaid, son of Meg Ryan and Dennis Quaid, fills the shoes of the lovesick Jordan Welch and Quaid does a fine job being the smartest guy in the room, but still being blindly dumb to the situation unfolding around him and Sadie. Surprisingly, a number of various genre vets rear their heads in this film, starting with “The Strain’s” Kevin Durand. The 6’6” tower of pure muscle Durand embodies a Jason Voorhees like villain when masked; unmasked, he’s about as stupid as they come and Durand can do stupid very well. Part of the comedy, of this horror-comedy film, stems from an uncharacteristic role played by Craig Robinson as a very unfit, local firefighter hero, fittingly named Big Al. The “This is the End” and “Ghosted” star bores through his minor role of Big Al with very little dialogue as Robinson is well known for wit, but the comedian has one of the better scenes with a 2-on-1 fight scene with the two demented school girls. The last recognizable face being mentioned flames out as quickly as it’s flamed in from the Sci-Fi genre. Josh Hutcherson, another “The Hunger Games” star, goes James Dean as MacKayla’s emo ex-beau, Toby Mitchell. Hutcherson’s character doesn’t quite fit the “Tragedy Girl” mold that pushes the limits later on in the film and his portrayal of Toby Mitchell is awkwardly misplaced as overzealous and forgettable. Rounding out the remaining cast is Timothy V. Murphy (“The Frankenstein Theory”), Nicky Whelan (“Flight 7500”), Keith Hudson, Savannah Jayde, and Katie Stottlemire.

“Tragedy Girls” will do well as it’s a solid horror-comedy with a la carte gore. None of the characters seize the progression of the trope reversal story and with the exception of Hutcherson’s Toby Mitchell, the actors conform precisely to the animation of their character’s scribed personas. Hildebrand and Shipp are the epitome of that last statement. The pair of actresses have a real life proprietary appearance about them and to crossover those looks and meld them into Sadie and MacKayla will forever establish them as the true tragedy girls. “Tragedy Girls” isn’t just about flip-flopping the genre rear ended up; writers MacIntyre and Hill pen a film that’s also about female empowerment with two strong actresses filling the shoes of two self-sufficient badasses committed to doing what’s conventionally labeled male subversive behavior and accomplishing it on whole other level. Even if on the wrong side of the law, the tragedy girls stick together through the good and the bad to overcome various high school and beyond high school hurdles that attempt to thwart not just their friendship, but their cyberspace popularity.

Gunpowder & Sky proudly distributes “Tragedy Girls,” a film by fresh faced production companies like Its The Comeback Kid and New Artist Pictures, onto VOD now and DVD home video February 6th. Since provided with an streaming link for review, a well-rounded critique on the DVD’s technical specs, picture quality, audio tracks, and bonus features will unfortunately not be commented on, but the very film itself should entice the most casual horror film goer who usually doesn’t stray off the mainstream path. With familiar faces and plenty of bloodshed, “Tragedy Girls” holds water against competitors in a flooded genre. Don’t forget to follow them, #tragedy_girls or @tragedygirls, or else you’ll be next tragedy exhibited in their wall feed!