When Evil Calls, Don’t Pick Up! “Close Calls” reviewed!

Posted by Steven Lewis on November 19, 2019

Spoiled brat Morgan MacKenzie indulges in the good life under the roof of her wealthy father; perhaps, the party girl indulges a little too much when her father catches her and her boyfriend in a sexual act by the backyard pool. Her continuos snarking, cantankerous attitude, and sexual delights force her father to ground her before going out on a date night. With a box full of miscellaneous hard drugs and a house all to herself, her sole responsibility is to supply her deteriorating grandmother imperative medication, but when obscene phone calls place Morgan on edge, paranoia rocks Morgan’s lucid tate of mind through occurrences with her horny, drug pushing boyfriend, a vile and deranged grandma, and a stranger at the doorstep on a rainy night that instigates nebulous effects, rendering her trapped, scared, and questioning everything about life as she knows it.

A visually colorful feast of mind-warping fear is Richard Stringham’s psychological horror-thriller, “Close Calls.” The 2017 feature that bares a undeniable resemblance to the 1970’s Italian giallo films with stark, dreamlike color lighting keenly favors an admiring homage of a bygone genre. Writer-director Richard Stringham, contributing product of “10/31” and it’s sequel, shepherds the film through S and Drive Cinema on a production that’s near entirely shot on one set location and in a handful of built sets to purposefully thrust an empathetic viewer trapped alongside, hip-to-hip, the snooty,scared, and smack-tripping Morgan and the script, which has been a work in progress for some time prior to release, finally saw completion when, supposedly, Stringham was tripping on drugs himself – that backstory alone should ensue a viewership.

“Close Calls” introduces horror fans to Jordan Phipps as Morgan MacKenzie, the tortured receptor of the obscene calls and whose nerves are buckling under a bombardment of uppers, downers, and many, many hallucinogens. To really stomp hard on the fact that “Close Calls” is indeed a horror film and to add upon the slight separation of the normal circumstances, the unearthly busty Phipps performs in her underwear and bare feet through the entire film and its comically written against the character to undress Morgan in not a literal sense, but works toward a natural teen prerogative that Phipps courageously pulls off dutifully. Because of the very fact that “Close Calls” is the actress’s debut feature told in her character’s entire point of view, I expect Phipps to be on the casting radar as an array of talent and as one who can go unscathed in the daunting course of leading lady. Morgan has exchanges with a couple of interesting characters to note from “10/31’s” Greg Fallon as Barry Cone, a colleague of Morgan’s father with sexual deviancies and callous intentions, and “The Phone in the Attic’s” Janis Duley portraying Morgan’s mentally unstable grandmother with takes dumps in the closet. Fallon and Duley hone in on their respective roles with uninhibited momentum that viciously contributes to Morgan’s spiraling home alone situation and creepily loom a visceral presence under a disturbing guise. Carmen Patterson (“The Boo”), Kristof Waltermire, and Landen Matt round out the cast.

On a parallel plane with the losing one’s mind from a heavy dose of drugs, trauma, and spoiled entitlement, the psycho-sexual narrative of “Close Calls” shouldn’t be ignored and is fringed with totalitarian perversion. The extremely saturated provocative and mainly lewd discourse calls an uneasiness to the moral senses that undercuts the congenial desires for Morgan. Like aforesaid, Morgan struts in her underwear thoroughly through the story and Stringham elaborately showcases her assets with some fine tuned camera work and angles, but Morgan’s drug use topples her sexual stability, leaving her vulnerable against predators that also include her douchy boyfriend, but it’s co-star Greg Fallon that takes the sexual deviance to misogynistic heights as a blunt force object with a high-level stalker obsession toward Morgan. Fallon exacts a persona that’s explained to have watched Morgan from afar in the shadows and schemed plots to infiltrate her by any means necessary, even if that means killing her when he’s done. As Barry Cone, Fallon manufactures to perfection a middle aged man’s grimy malaise toward young teen women and Cone is so vile that he can even starkly contrast Morgan in a better light despite her explicable flaws.

S and Drive Cinema production of Richard Stringham’s “Close Calls” dials up onto DVD home video from Scream Team Releasing presenting the film in a widescreen, 16:9 aspect ratio, full of colorfully vibrant lighting familiar to the old Italian thriller while sustaining a complimentary cinematography with a flat vintage definition image. The stimulating combinational pops of color and lighting were the collaborative efforts of the director of photography Graig Wynn and the late colorist, Omar Godinez (“I Spit On Your Grave” remake), who died of heart failure before the film was finished. The English language PCM DTS-HD Master Audio mix has little to fear with a robust, slasheresque-score by “The Barn’s” Rocky Gray, but the dialogue track can be soft at times where the score overpowers and nearly drowns out the actors. There are also gag-like foley effects, such as when Morgan rubs cocaine onto her gums and the squeegee sound effect sounds more like something out of a Leslie Nielsen parody. With the exception of a static menu, only a single DVD bonus feature included with an audio commentary by writer, director, and produce, Richard Stringham. Loaded with psycho-sexual themes and psychedelic-contorting deconstructs, “Close Calls” is not only a 128 minutes of rabid affections for Jordan Phipps, but also a trip down the uninviting rabbit hole of collusion, murder, and an endless supply of suspense.

Purchase “Close Calls” on DVD! Click the DVD cover!

EVIL Drugs Zap the Sanity Out of Ya! “Dry Blood” reviewed!

Posted by Steven Lewis on November 9, 2019

Struggling drug addict, Brian Barnes, travels to his and his estranged wife’s cabin in a rural mountain community to force himself into isolated detox. He calls upon his friend Anna to assist with keeping him focused to sobriety. As soon as Brian arrives, temptation to score rears an ugly head and in his battle with withdrawal, Brian is frightened by his experiences with grisly, ominous phantoms in the cabin, a unhinged sheriff perversely following him, and the disassociation of linear time. He unwittingly falls into a mystery he doesn’t want to unravel as the occurrences of death and hallucinations intensify every minute within withdrawal and Anna doesn’t believe his frantic hysteria with ghostly encounters, but scared and unwell, Brian is at the brink of snapping, the edge of reality, and on the cusp of reliving his nightmare over and over again.

A harrowing insight into mental illness and abstaining from illicit drug use exaggerated by the overlapping of paranormal wedges of weird into the fold and Kelton Jones’s “Dry Blood” renders shape as a detoxing detrimental peak into exclusively being afraid and relapsing that also touches upon the idea of being afraid repeating relapse without consciousness. Under the Epic Pictures’ Dread Central Presents distribution banner, the Bloody Knuckles Entertainment production is of a few original horror films from a media leader in the horror community, leading an exposure campaign that might not have otherwise been possible. Not to say “Dry Blood” wouldn’t have metamorphosed from idea to realty by any means, but the DREAD line opens up films to a broader market, a bloodthirsty bandstand section of sometimes divisive and opinionated fans, who have seen, under the DREAD banner, an innovative horror lineup including “The Golem,” “Book of Monsters,” and “Terrifier.” “Dry Blood” fits right into the mix that’s sure to be a favorable side of judgements.

Clint Carney sits front seat as not only screenwriter but also the star of the film with Brian Barnes who tries to reclaim his self-worth and life from long time substance abuse. At the slight entreatment from director Kelton Jones, Carney has a better understanding of downtrodden Barnes character more than anyone and having some experience acting in short films, the writer naturally finds himself ahead of the pack on a short list of talent. However, though Carney has a modestly okay performance, the overall quality in selling Barnes as desperate, duplicitous, and genuine misses the mark, exacting a clunky out of step disposition as the character tries to figure the mystery that enshrouds him. Jones also has a role as the deranged sheriff who stalks Barnes like an overbearing, power monger cop who smells blood in the water. In his feature debut, like Barnes, Jones’ splashes a friendly, yet simultaneously devilish smirk spreading wide under a thick caterpillar mustache that adds another psychological layer in caressing Barnes’ madness. Barnes love interest, Anna, is found in Jayme Valentine and, much in the same regards to Carney, there were issues with her performance as the willing friend to be the support beam to Barnes. Valentine just didn’t have the emotional range and was nearly too automaton to pull Anna off as a person whose romantically unable to resist the addict but can manage to keep a safe distance away in order for both of them to benefit in his sobriety journey. “Dry Blood’s” casts out with some solid supporting performances by Graham Sheldon, Rin Ehlers, Robert Galluzzo (director of “The Psycho Legacy” documentary), and Macy Johnson.

“Dry Blood” is certainly an allegorical move toward the severe effects of withdrawal, even with the title that’s a play on words of a former addict staying dry during their difficult abstaining campaign, and with that symbolism, that ambitious ambiguity, to question whether or not Barnes is actually seeing these horrific images of disfigured bodies becomes open to audience interpretation of their own experience with substance abuse or their empathetic knowledge of it. Combine that individual experience aspect with some out-and-out, gritty moments of bloody violence, especially in the final sequences of Barnes careening reality, and “Dry Blood’s” simmering storyline ignites a volcanic eruption of unhinged blood lava that spews without forbearance. Those responsible for acute effects are Chad Engel and Sioux Sinclair with Clint and Travis Carney rocking out of the visual effects to amplify the scenes already raw and gore-ifying moments.

Epic Pictures and Dread Central Presents a paranoia, paranormal, psychological bloodbath of a production in “Dry Blood” and lands onto a hi-definiton, region free Blu-ray home video in a widescreen, 16:9 aspect ratio, distributed by MVDVisual. The 83 minute presentation has a consistent, natural adequacy that delivers strong enough textures to get a tactile sense of the wood paneling of the rural mountain cabin and also the various materials in clothing and skin surface for easy to flag definition. Hues are potent when necessary, especially when the blood runs in a viscous red-black consistency. Darker, black portions have a tendency to be lossy and flickery at times, but nothing to focus on that’ll interrupt viewing service. The English language 5.1 Dolby Digital surround sound has little to offer without inlaying a full size candy bar of action; instead, “Dry Blood” has bite-size appeal that would render okay without audio channel overkill. With that being said, dialogue doesn’t falter and there maintains an ample range and depth of sounds. Surprisingly, the build up of notating the soundtrack composed by System Syn left a disappointed aftertaste as the expectations of an industrial electronic, upbeat score was met only with a casual fling of the group’s spirit. Still, the soundtrack is a brooding horror melody which isn’t unpleasant…just not what was to be expected. Bonus material includes an audio commentary with Clint Carney and Kelton Jones, the making of “Dry Blood,” and teaser and theatrical trailer. Don’t be fooled by “Dry Blood’s” initial crawl approach as when the tide turns, addiction roles into hallucinogenic despondency and mayhem, and the blood splatters on a dime bag detox, “Dry Blood” will factor into being one of the better sleeper horror films of the year.

Dry Blood on Blu-ray! Purchase It By Clicking Here!

An EVIL Beast’s Carnivorous Addiction! “The Hidden” reviewed!

Posted by Steven Lewis on October 14, 2019

A sewer dwelling beast attacks and kills a cocaine fueled junkie. Now hooked on the drug and pained with addiction, the beast needs more cocaine. Every exchange meet up by the sewer entrances become a deadly encounter and as dealers and customers start to disappear, winding up dead, a drug cartel kingpin mourns the loss of his business. On the opposite side of the spectrum, the junkie’s older brother is also suffering a loss. Spiraling down a path of grief, he must find his brother’s killer at any cost, even if that means breaking up with the love of his life. A vindictive brother and a savvy drug dealer must team up to hunt the beast that stalks the sewers, looking for it’s next high, and put an end to a reign of terror.

Australia. Early 1990’s. Nathan Hill wrote and directed a crime thriller SOV, shot on a Video8 handheld, that just happened to have a bloodthirsty beast roaming the sewer system who unwittingly becomes addicted to cocaine after munching on a junkie. The 1993 film was entitled, “The Hidden,” which is not to be confused with the late 1980’s science fiction-horror, “The Hidden,” with “Twin Peaks'” Kyle MacLachlan. Hill’s film, also considered a sci-fi venture, had a minuscule, barely functioning budget and in a sense of unawareness, the filmmaker didn’t quite realize that a film, already popularizing the title, had the exact same moniker. In any case, Hill’s “The Hidden” has a premise far from the already established indulging in a vindictive creature feature with an internal turmoiled drug cartel subplot.

“The Hidden” comes to no surprise that the cast is constructed of no-named actors and actresses. Simon Mosley debuts as Michael Wilcott, a grief stricken brother looking for vigilantism vengeance. Mosley doesn’t have an acting bone in his body as he punches doors and pushes pushers around as if on command and carries a monotone, automaton performance throughout. He’s only rivaled by Daniel Rankin from another Nathan Hill directorial, 2011’s “Seance” (aka “6:66: Seance Hour: if that makes any more sense). Rankin’s a tall, muscular drink of water in comparison to Mosley and has a bit more acting chops that not only contemplates the hits he’s taking on his drug gig as dealer Guy Taylor, but also pulls a little more weight as a compassionate individual who takes a homeless boy as his surrogate father. As Mosley and Taylor team to battle the beast, the unlikely duo also have another foe to hurdle in the obstinate Steve, a junkie with a hard on for being bad, a role fit for the blonde haired and severely acned Chris Robbie. Paul Mosley, Chris Goodman, John Goodman, and Narelle Sinclair, as Michael Wilcott’s girlfriend, co-star.

Now while “The Hidden” has rough SOV quality, that’s is nowhere near the issue with Nathan Hill’s debut feature. Nick Goodman’s script spits out varying story tracks that never really shape subplots into being an unquenchable and flaccid tangent. For example, Guy Taylor’s adopted son, Carl. With the exception of a brief flashback of Guy and Steve working out together and coming across the boy. The scene’s brief but affective substance lies with setting up Guy to be a big softy on the inside and making Steve a complete jerk, yet keeps the relationship between Guy and Carl disjointed and ingenuous. There’s also the little (as in little of) mentioning of the special effects. No special effects technician is credited and it shows as the beast is absent in nearly the entire 77 minute runtime with the exception of the Predator first person infrared vision and it’s not until the climatic finale does “The Hidden” come visible and it’s a big whomp-whomp.

Nathan Hill Productions, under his NHProduction company, presents “The Hidden” distributed by SRS Home Video and MVDVisual onto DVD home video that’s encased in nostalgic, VHS cover art with a “Please Be Kind and Rewind” cherry sticker on top. The Video8 SOV image is quite washed and unstable in the 4:3 aspect ratio as if the color has been zapped right out, even after being re-animated, reduxed, and remastered. The limitations of the Video8 camcorder hinder the single channel audio, leaving the range and depth something to wonder rather than experience. Along with the anemic audio and video presentations, the bonus features doesn’t stray far as only the trailer and bonus trailers are included. “The Hidden” is unglamorous under the eye-catching cover art and more attuned to being an investigative thriller than a creature feature and a recommendation wouldn’t be hard-pressed for anything stellar.

“The Hidden” available on DVD

When EVIL Gets Tough, You Fight Back! “The New Kids” reviewed!

Posted by Steven Lewis on August 22, 2019

Loren McWilliams and his sister Abby were both proud of their illustrious military careered father as well as adoring him immensely. When the teenagers’ parents set off toward Washington D.C. to receive a commendation from the President after foiling a terrorist hostage situation, Loren and Abby felt like the luckiest kids alive, but that all quickly changed with a phone call, announcing a deadly accident that killed both their parents. Somber in disbelief, Loren and Abby decide to take up on an offer from their uncle Eddie and aunt Fay who own a gas station and a joint rinky-dink amusement park in Glenby, Florida in hopes to whet the appetites of thrill seeking tourist right before hitting the major league theme parks of Disney. Settling into a new school system is relatively easy for the siblings who’ve often been use to moving from location-to-location with their father in military service, but acclimating to the local drug pusher, Dutra, along with his entourage of subversive delinquents, has placed a target on their backs. A cat and mouse game over dominance ensues with an unreasonable Dutra unable to ever settle the score until his complete satisfaction in punishing the new kids in town has been sated, even if that means Loren and Abby, and those close to them, have to fight for their very lives.

“The New Kids,” aka “Striking Back,” is a horrifying suspense thriller from the original “Friday the 13th” director Sean S. Cunningham and penned by the father of Maggie and Jake Gyllenhaal, Stephen Gyllenhaal, and “Visiting Hours” screenwriter, Brian Taggert. Instead of a lurking serial killer stalking and massacring half-naked and carefree camp counselor teens on a secluded camp ground, Cunningham tackles felonious teenagers wreaking havoc on popular outsiders treading on their drug turf, especially those who give a good fight back. “The New Kids” bombards every scene with caustic, no-good trouble and when push comes to shove, the only rational is to give the razor-edge scrap right back in a serrated do or die narrative.

Before the face of the collegiate admission scandal and before being the beloved onscreen mother to twins fathered by Uncle Jess on “Full House,” Lori Loughlin co-stars with Shannon Presby as on the defensive Abby and Loren. Presby slightly overshadows Loughlin as a stronger character or presence on screen. Loren continuously evolves through the storyline beginning as a well-rounded, cool-headed, optimistic son who recently lost his parents and then blossoms through bullying and violence as a mad dog protecting what’s his – family. Abby staggers quite precariously and never quite finds her footing in the grand scheme of things other than being a passive victim of Dutra and his gang. Even the contrast between Loren and Abby’s respective love interests is lopsided as Loren and his girlfriend (“Silent Madness’” Paige Price) dominate the dynamically in comparison to Abby and an underused and very youthful looking Eric Stotlz (“The Prophecy”). The real stud of “The New Kids” is a young, slim James Spader (“Wolf” and “The Blacklist”). Pure platinum blonde hair topping piercing eyes with a pinch of a Boston accent really brought out the villain in Spader in one of his very first feature films. Many other familiar faces in the cast, some familiar amongst horror fans, including John Philbin (“Return of the Living Dead”), the late Eddie Jones (“C.H.U.D.”), and the legendary Tom Atkins (“The Fog” and “Halloween III”) in a brief role. The remaining cast round out with Vince Grant, David MacDonald, Theron Montgomery, Lucy Martin, and Jean De Baer.

On the surface, “The New Kids” might seem polar opposite to Cunningham’s franchise birthing “Friday the 13th” series, but if looking with a keen eye, Cunningham has slapped and slathered his style all over the bullying barraging thriller. Techniques such as the camera focusing on feet that come out from hiding, the sudden appearance of people behind objects, and the menacing atmosphere of being watched are sensationalized characteristics of his camper slasher flick. Also, though the soundtrack is akin to the likes of Harry Manfredini, it was actually composed by the renowned Lalo Schilfrin who more than like was given precise instructions from Cunningham to compose a companion like score with a twist of a new kind of fear.

Mill Creek Entertainment presents Columbia Pictures’ “The New Kids” onto a Blu-ray home video with a widescreen 1.85:1 aspect ratio. The region A release on a BD25 has a well preserved transfer with little to no damaging issues and lots of good, wholesome natural grain speckling on the solid and wide range color palate. Even the darker scenes have pronounced definition so nothing is obscured from the viewer. The English language DTS-HD Master Audio track is quite robust with no sings of hissing or crackling during the entire 90 minute runtime. Even with Loren is whispering to Dutra in an intense claustrophobic and apprehensive scene, Loren is audible and understood, completing a dialogue friendly release with a, as aforementioned, a baleful score by Lalo Schilfrin. English SDH subtitles are also included. Unfortunately, there are no bonus features on this release; however, the retro style slipcover, where the VHS tape looks to be protruding from the VHS box, is a nice tough by Mill Creek Entertainment, especially with the faux wear around the edges and on the facade. For director Sean S. Cunningham, “The New Kids” steered clear of being a Voorhees repeat, but was certainly a recapitulation of Cunningham’s strong suits and with a strong, confident cast, “The New Kids” is sorely understated and overshadowed and I’m personally pleased that Mill Creek Entertainment delivered a Blu-ray release to the U.S. even if there are no bonus features.

The New Kids available at Amazon!

A Charlatan Who Surrounds Herself With Evil! “Vampz!” Review!

Posted by Steven Lewis on May 12, 2019

After countless interview screenings, Simone struggles to find a suitable roommate just like herself with an insatiable longing to be one of the undead, specifically, a vampire. As she strikes out applicant-after-applicant, her twin brother Sam persuades her to lock in on Ashlee, a beautiful, yet energetically ditzy cheerleader new to town who shows up late at night looking for a place of her own and with looming rent bills sucking her dry cash, Simone begrudging agrees on the dimwitted and un-vampiric prospect. Unbeknownst to Simone, one of her former screenings turns out to be a coked out vampire hunter and with Simone declaring herself a vampire during the screening, the oblivious and hopped up hunter’s ability to distinguish between the real McCoy and a wannabe has severely disintegrated as he aims to drive a long, wooden stake through her heart, but when the Hunter comes to claim his bounty, he inadvertently teams up with Simone and Ashlee against a tenebrous conspirator with a penchant for control of ghouls and monsters to not only save their lives, but also their friends.

“Vampz!” is the filmic version of a chaptered web series, that found a crowdfunded presence from circa 2012. Much like in the same vain as the “Hell’s Kitty” DVD release, “Vampz!” didn’t partake in any re-imagining, re-shoots, or even a re-cast for the movie; in fact, the so-called 2019 movie, helmed by director Ramsey Attia and scripted by Omar Attia and Lenoard Buccellato, is actually the web series spliced together to construct a 76 minute feature. To maintain comedy integrity that calls for hyperbolic reactions, profanity heavy dialogue, and some really nifty and amusing pop cultural intertwining, like Queen’s Bohemian Rhapsody dialogue rendition had me biting my smirking lip in assurance, Attia and Buccellato’s script never deviates from course. There’s are also other subtle homages that can be easily identified throughout. Between the TV web series and the film, no cast alterations or implementations have been made and so all of the established humor from the web series is still engrained from the actors and having never seen “Vampz!’ the series, gauging what, if any, soul from the original product is lost in the nearly decade old translation cannot be confirmed, but “Vampz!” has resilient comedic bite, going for both canine fangs into the throat in the face of being an independent picture.

Lilly Lumière at the forefront with her character Simone Castillo, an aspiring bloodsucker in all its fashionably formulaic vampire glory without being the recently bastardized Hollywood version a.k.a. “Twilight” trilogy, becomes the eyeliner nucleus of the story. Lumière presents an eye rolling, goth decked out quasi-vampire with a die hard approach to the banal side of the vampire mythos. Simone becomes the BFF target of Ashlee, who from the depths of the night shows up at her doorstep seeking the room for rent. Ashlee doesn’t seem to be Simone’s type, a high-spirited cheerleader tryout who is new to town; in fact, Ashlee represents all that is distasteful to Simone’s undead facade. Christal Renee has the vivacious personality type to pull the give me a S-U-P-E-R hyped Ashlee! Then there is Denis Ark as psychotic vampire hunter Marcus Denning. Ark is not just certifiable on screen, but he’s also certified off screen as a personal fitness trainer. With 20+ years in martial arts and sports training, Ark tackles the moderately physical role with ease and provides some point blank comedy. “Vampz!” remaining cast of misfits include Louis Rocky Bacigalupo, Guy N. Ease, and Cliff Hunter.

Shot in Peterson, New Jersey, “Vampz!” has a very Jersey feel, not to be confused with having an Italian Jersey Shore feel, despite being just a hop, skip, and a jump across the water from New York and even with that chip on the shoulder emanating from off of the screen and on the penny-pinching, crowd funded budget, the web series is without a doubt well done. The humor is touch and go with some misguided antiquation, but the effects capitalizes over that portion of content, especially when a creature or two appear for their grand entrance into the storyline. “Vampz!” has solid special effects working heavily to lead the charge into turning what could have been ho-hum film into a quasi engaging creature feature that deviates from the staggering conventionalism and genre tropes.

MVDVisual and Ruthless Studios sinks their teeth into the A Rear Naked Studios Production of “Vampz!” releasing the Ramsey Attia horror-comedy onto DVD home video in its full web series storyline. Presented in a widescreen, 1.78:1 aspect ration, the region free disc picture doesn’t provide a flavorful presentation. Attia and his team went faux grindhouse approach by adding grain and “missing scenes” on a pseudo-polyester film base, but the film looks washed and uninviting with droll hues. The English language dual-channel stereo track lies above the fray image with ample range of ambient sounds and a prominent dialogue track. Depth hardly comes through with most of the ambient remaining on a level plane that doesn’t resonate elsewhere from between outside and inside the finale factory or in between room-to-room. There are no bonus features included on this DVD that has curious cover art. Front cover pictures a badly photoshopped composition of a short red haired woman wearing an boxy amulet overtop a cutoff top and drinking blood out of a martini glass with a plastic straw. There’s also a white snake wreathed around the V and A of “Vampz!” and the same snake is also wrapped around the shoulders of a silhouette figure on the back cover but there are no snakes in this film, nor is there an high class, red-headed vampires drinking blood out of a martini glass so the cover is misleading. “Vampz!” garnishes heart and soul of the modern classic horror creature while adding a cascading charm of moderate-to-light hearted comedy to mask the rough edges of a home grown brew grindhouse film thats bemusing to perceive from a deceptively cheap DVD cover art.