EVIL Watches from the Shadows. “The Lurker” reviewed! (Indican Pictures / Screener)


A gruesome murder has brought a looming shadow over a high school. However, the shadow is not great enough to thwart the spirits of a group of thespian high school seniors in the throes of their last Shakespearian performances of the year of Romeo and Juliet. Determined to excel, the peer admired Taylor Wilson keeps her college acceptance hopes high on her well-received nightly performances as Juliet, but when a terrible secret involving Taylor begins to circulate through the school body, friendship and enemy ties begin become taut with tension. Simultaneously, those with knowledge of Taylor’s secret are being killed off one-by-one by a deranged killer in a black, long nose masquerade mask.

“The Lurker” is a 2019 American slasher film from the first attempt at horror-director Eric Liberacki, whose legs have been grounded in short film cinematography work over the past 2010 decade with “The Pale Man” being his sole feature length credit. Liberacki’s sophomore directorial is written by the “The Pale Man” screenwriter and short film director, John Lerchen, who’s scribes the slasher version of HBO’s “Big Little Lies” starring hormone-driven and backstabbing high school seniors on a thespian high. “The Lurker” re-imagines the high school dramatics to further dig into taboo subtexts worthy of a Jerry Springer talk show episode and interweaves a non-linear narrative, filled with flashback mystery, due suspicion, and the utmost desire to know what secret Taylor Wilson is being exploited against her preservability. “The Lurker” is a joint venture between John Lerchen’s production company, Forever Safe Productions, and Silva Shots.

One thing, right off the bat, that heedlessly seems erroneous for the story is casting Scout Taylor-Compton in the lead role of Taylor Wilson. And here’s why. From 2007 to 2019, the now 30-year-old actress has played a high school student in Rob Zombie’s remake of “Halloween” and in “The Lurker.” While Taylor-Compton is a natural beauty who seemingly defies all physics of aging and her performance is solid, the once Laurie Strode portraying actress from Long Beach, California emits a now mature glow in life and rehashing another character in a high school slasher is ultimately beneath and behind her. Aside from her counterpart co-star Michael Emery being roughly the same age, the rest of Taylor Wilson’s entourage are in their internship-status, post-college years of the early 20s, including Kali Skatchke, Casey Tutton, Isabel Thompson, Emmaline Skillicorn, and Marissa Banker. Juxtaposing against a young cast, as a sort of out with the old and in with new or to brighten with short strands of genre highlights, is the minor roles and cameos of recognizable faces and film royalty, such as Ari Lehman (“Friday the 13th), Naomi Grossman (“American Horror Story: Asylum”), and, most surprisingly, Domenica Cameron-Scorsese, the daughter of Martin Scorsese, playing Taylor’s mother. The cast rounds out with Charles Johnston, Rikki Lee Travolta, Eddie Huchro, Bruce Spielbauer, Roy Rainey, Josh Morris, and Walter S. Bernard.

“The Lurker” has textbook aspects going for it in the case of an above par production value of fancy editing and set locations, a cache of young and seasoned talented actors, and a story with a twist ending, but that nagging itch gnawing from the back of my skull, slowly inching one molecule at a time, toward the core of my brain informs me that the Liberacki’s slasher misses the intended mark if only by a fingertip attached to a severed pinky. The story tries to sell an alternate version of itself that becomes inane from predictability at the very starting gate and continues trucking an exemplum despite giving away too much, too early. Surrounding the conundrum of calamity building to the potential proverb of shit hitting the fan is a paradigmatic slasher flick with a masked killer murdering toward the technique of a final girl narrative. Yet, “The Lurker’s” kills weren’t terribly flashy and were really met with an uninspired creativity to assist in drawing and sustaining captivation of a ruthless assailant over an abundance the teenage melodramatics, which essentially ran amok. We really shouldn’t have been surprised at the narrative’s untroubled tone because the first kill in the opening scene was inside the school and the school was open the very next day; in today’s day and age, school would have been closed for the rest of the week, if not the rest of the academic year, for bereavement and investigation.

Come down with a serious case of stage fright with “The Lurker” coming to DVD home video and now out on various digital platforms, including renting and buying options on Amazon, distributed by Indican Pictures. The visual and audio review portion for this release will not be covered since a screener copy was provided; however, the DVD will be presented in the original widescreen presentation of an aspect ratio of 2.39:1. With a check disc, there were also no bonus material to review as well as no bonus material before the credits and before or after the credits. John Lerchen and Eric Liberacki’s first crack at full length horror is a win in my book with a complex web streamed of lies, deceits, and snuff, but, with a little fine tuning, “The Lurker” could have sheered to a bigger, better 80 minutes.

Rent or Buy “The Lurker” on Prime Video!!!

Beware EVIL’s Lair! “Rust” reviewed! (Wild Eye Releasing / DVD)


Hotel Fear is a dilapidated shell of a once thriving horror attraction with labyrinths chockful of replica grisly terrors. Isolated in a rural area outside Las Vegas, Hotel Fear becomes the meetup place for best friends Heather and Morgan who drive to the forlorn theme park to unite with a couple of male friends. However, Hotel Fear houses a notorious urban legend that includes the deranged killer, Travis McLennan, a barbaric, cannibalistic madman who abducts young women for his pleasure. When Morgan is captured and Heather barely escapes with her life, it’s up to a battered and traumatized Heather to return with the police to rescue Morgan from the merciless grips of Travis McLennan.

Can “Rust” be the next much-admired slasher franchise this side of the last ten decade? That’s what will be discussed when analyzing Joe Lujan’s written and directed “Rust,” a survival-slasher surrounding a mute-masked killer named Travis McLennan, birthed by a nefarious anecdotal urban legend of a unhinged boy who murdered his parents and wears his father’s face. Lujan, whose become something of a low-budget horror factory filmmaker with short and feature film credits including “It Followed Me,” “Atelophobia,” and their respective sequels, helms what could be the director’s bread and butter legacy that crosses “The Texas Chainsaw Massacre” with some aspects from a Rob Zombie filmmaking handbook. What makes “Rust” unique, or at least in the Wild Eye Releasing DVD, is the feature is comprised of two short films, “Rust” and “Rust 2,” spliced together to make a full length film that would ignite the fervor for third entry, “Rust 3” in 2020 currently in post-production, and all produced by Lujan’s production company, Carcass Films.

Typically, popular slasher will center mostly around the chased protagonists that naturally produces an ominous villain, examples would be Alice in “Friday the 13th,” Laurie Strobe in “Halloween,” Nancy Thompson in “A Nightmare on Elm Street, but “Rust” shares the focal responsibilities between protagonist duo of Heather and Morgan and an antagonist duo of Travis McLennan and his Stockholm syndrome sex slave, Valkyrie. Not only do we wonder about the bloody-cladded rooms of Hotel Hell with Heather and Morgan, but also see some dynamics and curiosities from their stalker. “Hot Tub Party Massacre’s” Corey Taylor and “Afflict’s” Taylor Kilgore become the besties Heather and Morgan and are staple actors in Lujan’s ensemble cache he’s collaborated extensively throughout his career. As an exposed midriff Kilgore loses out on Morgan’s weak character development that’s nothing more than an elevated whimper, Corey Taylor by default lifts up to be a quasi-strong female lead, but neither actress steps into that final girl role and are extremely overshadowed by Morlon Greenwood’s towering-might that converts to being the black-hearted killer Travis McLennan. The Jamaican born, former NFL linebacker has that “See No Evil,” Kane-like violence that bears an austere ravager who would make anybody crap their pants when going into full-throttle chase mode with machete in hand. Lindsey Cruz (“Meathook Massacre 4”), Raul Limon (“The Immortal Wars”), Isaac Rhino (“Blood Runs Thick”), Meek Ruiz, Paul Tumpson, Nycolle Buss, Lordis DePiazza, Brittany Enos, and Brittany Hoza round out the cast.

So, does “Rust” make for good silver screen slashery? One would need to snake between the rough McLennan backstory that doesn’t clearly sink in, the whimsical premise of a teen meet-up and wander through an abandoned horror theme attraction, and the hollow characters to declare that “Rust” doesn’t make the cut across the throat. Finding reasons to be concerned for characters was at a great time nil because of their bland design with nothing to strive or live for in a complete and total arc-less folly of development. Perhaps the purest form of a slasher is in Travis McLennan’s brutality which warrants some positive lighting as a more machine than man killer, wearing a fleshy mask skinned from his father, as he hoards young women for his unknown kicks, but whether the funds weren’t in the budget or an artistic preference was applied, all the kills were mostly done off-screen and implied. There were a couple of knife blows to the head and the neck areas that barely had discernible quality that subjected no veering of the eyes or garnished any dread into the full brunt of the kill blow. Lujan pens an obscured rape scene that has more oomph than the killing itself. We’ve seen box store horror films with scream attractions before, such as like “Hell Fest,” and even some enticing independent ventures, such as “Talon Falls,” both of which have filled the need for urban myth, meta-horror – horror actually happening in a horror theme park – but most of these films don’t pan out as expected and “Rust” simply falls into that latter unfortunate category.

Right on the coattails of a third film comes “Rust” onto DVD home video courtesy of Wild Eye Releasing that’s presented not rated and in a full frame 16:9 aspect ratio that’s varies in quality being two shorts combined into one. “Rust” first half suffers from an extremely low bitrate so much so that you can see pinpoint each frame. The coloring is faded beyond the brown on a Las Vegas desert and, at times, difficult to discern exactly what’s happening mise-en-scene, especially in the darker scenes as you can see in the screencaps. The second half fairs better with a higher bitrate, smoother frame transitions, and a cleaner, less muddle twitching inside the frame. The English language dual channel stereo sound mix also splits the difference, most notably with a shield and muffled dialogue track being drowned out by ambient and the Eric Dryer’s score, a score that’s possibly a highlight in “Rust’s” legacy. Again, audio regains some control over the levels, providing more efficient range and depth but still can’t overcome of the powerful score. Bonus features include an interview with Joe Lujan about the fabrication from beginning to end of “Rust,” the original Rust 1 and 2 shorts, and Wild Eye Releasing trailers. One bonus I was vying for was the Eric Dryer score, but no such luck. “Rust” might be more of tetanus hazard than a budding slasher ripe for the viewing, but director Joe Lujan has the potential if the filmmaker can chug foward gaining experience along the way and, perhaps, recap his Travis McLennan nightmare on a bigger, badder scale with a sharper machete.

“Rust” is included with Prime Video!

 

“Rust available on DVD”

Mom Sees the EVIL in her Son in “M.O.M. Mothers of Monsters” reviewed! (Indie Rights Movies / Screener)


Abbey Bell is extremely worried about her teenage son, Jacob. Worried that Jacob, an intelligent boy with good grades and is a social magnet, is plotting a mass shooting at his school. After countless preemptive attempts to warn authorities and medical professionals of her suspicions of his psychopathic tendencies, Abbey begins recording a diary and setting up spy cameras inside the family home hoping to catch Jacob’s unpredictable and dangerous suggestions and threats on tape. The videos will also serve as blog fodder for other desperate mothers experiencing similar disturbing behavioral issues with their children. As the single mother and her son continue their at home war of bickering words and distraught suspicions, the maternal bond once shared between mother and son begins to deteriorate and evolve into unsurmountable distrust between each other; a distrust that has been simmering ever since Jacob was a toddler stemmed by Abbey’s dark family secret sheathed for many years until Jacob weaponizes it for his utmost survival against his concerned mother.

Before the coronavirus pandemic transformed powerful sovereign nations into panic-induced introverts wetting their pants at the first spray of a sneeze hitting their skin, news medias around the globe delectably ate up headlines of mass shootings as there would seem, at least for a good stretch, to be a sad and unfortunate mass shooting every single day. Tucia Lyman’s “M.O.M. Mother of Monsters” derives from that fearful climate while also purposing another sub-topical issue of a parent’s position in that circumstance. Lyman tackles one fictional woman’s tale of internal turmoil as her directorial debut and the sophomore script of a feature film not in a documentary format, pivoting away from the “Untold Stories of the ER” and “I Didn’t Know I was Pregnant” junk food that consumes about 2/3’s of television comatose Americans. The “found footage” 2020 released psychological thriller is produced by Elain White and Austin Porter whom both have collaborated with Lyman in the past.

While not as sexily depicted and as authoritative as Emilia Clarke is depicted to be the Mother of Dragons in HBO’s “Game of Thrones,” New York City born Melinda Page Hamilton can surely sell a mother of a monster as Abbey Bell, vending sharply laid out doubts and uncertainties with a mountain of convincing circumstantial evidence against her only child. The “Not Forgotten” actress quietly folds into herself as the submissively passive Abbey on a histrionics mission to out her son as a danger to society. Bailey Edwards commands a subversive and rebellious teenage Jacob Bell that can use his millennial powers to steamroll over his mother’s lack-of-assertive powers. This film will be Bailey’s first substantial co-staring venture, along with minor performances in “My Dead Boyfriend” starring Heather Graham and Netflix’s “Bright” with Will Smith, and who will subtly introduce Jacob as some white nationalist, gun enthusiasts who has a gas mask with a swastika insignia, first person shooter gear and video games, and scenes of him walking in front of gun shops. While Hamilton and Edwards dominate the majority of screen time, the short cast list rounds out with Janet Ulrich Brooks, Julian de la Celle, and a special appearance from “The Mary Tyler Moore Show’s” Ed Asner as a behavioral doctor Skyping perspective therapy with Abbey. Does anyone believe a 91-year-old knows how to use a video chat? It’s a bit of a stretch….

“M.O.M. Mother of Monsters” throws caution to the wind embarking on a viewpoint of how far a mother will go to expose her child’s dissident and, potentially, deadly behavior. Lyman also digs deeper into the psyche of the mother and the child, sticking them with a ticking time bomb that is the heredity factor. Mental illness is a huge underlined theme that Lyman slips into the fold as signs of one person’s erratic behavior can be stemmed from the secrets of little known relatives and their seemingly destined out of control path can no way be influenced externally without reserving counseling, extenuating the age-old debate of nurture versus nature. Lyman’s storytelling smartly preserves an obscured aspect, cloaked by selective denial and tremendous paranoia, that becomes a catalyzing game changer of disturbing consequences. The narrative isn’t at all flawless with weak spots in the character structure that pigeonhole the roles to be stuck inside this cat and mouse cycling mindset between Abbey and Jacob. For instance, Abbey’s an obsessive, 24-hour recording zealot whose documenting never reveals anything else happening in Abbeys life, like work, friends, etc., whereas Jacob’s intermixed recordings with a female friend outside the contentious home reveal a life beyond his skirmish with this mother and his videogame shut-in habitat, but these recordings stick out awkwardly as much of the story’s is from Abbey’s perspective so how did Jacob’s casual conversation videography become a part of Abbey’s cautionary tale for other distraught mothers? Whether intentional or not to exhibit the imbalanced social complexities between Jacob and Abbey’s personal lives or lack thereof, Jacob’s exterior scenes course out of bounds, penalizing portions of the plot.

Become submersed in dark thoughts and monomania with Tucia Lyman’s “M.O.M. Mothers of Monsters” hitting the digital HD VOD platforms soon after premiering at the Los Angeles Arena Cinelounge this past Friday the 13th through Indie Rights distribution. Since this is a theatrical and VOD title, there is no home video release to provide technical specs and assessments; this also includes no special features. “M.O.M. Mothers of Monsters” hammers down the sociopolitical hot topics of mental illness, gun violence, and presumptive fear teeming in America with a spitting image and climate aware psychological thriller bristled with family dysfunction.

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


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!

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!