Alkis Vidalis made friends while serving time in prison. Friends, in the very loose sense of the word, with a corrupt and wealthy businessman, Daniel Bezerianos. When Alkis’s freedom is granted, he’s quickly picked up by Bezerianos’ gangster enforcers to contrive a public viral video with Alkis delivering a verbal message that would exonerate the still imprisoned crime boss and put the blame solely on a rival kingpin, Joseph Forkou. Held in Bezerianos’ rural porn studio building, Alkis commits to the plan that will, for now, save his own skin and as he’s going through the numerous takes to get an absolute resounding performance that will surely free Bezerianos, in the back of his mind, he knows will be undoubtedly be disposed of once his use to Bezeriano has dried up. Alkis’s fight tooth and nail survival and plan-as-he-goes quick thinking must ensure his fate through a multi-level building and a slew of heavily armed henchmen from two criminal factions who all want him dead before the video is uploaded to the internet cloud.
Not many Greek films come across my desk as a reviewer, but when they do show up at the door or in the mailbox, extreme anticipation salivation to pop the disc in the player and hit play begins its rampant course through the core of my body and shoots straight up to my bloodshot eyeballs. Dimitris Tsilifonis’ “Do It Yourself” is no exception as the 2017 action-thriller challenges us to take matters, big or small, into our own hands when push comes to shove and backed into a corner. Written and directed by Tsilifonis, the filmmaker takes the point in his first feature opportunity, aiming high and executing a non-linear, non-formulaic storyline that will keep viewers guessing how, what, when, why and who. “Do It Yourself” seizes the system as a calculated thrill ride that’ll entertain, equaling the same amount of narrative hip-slinging causticity of the last Greek film ventured by Its Bloggin’ Evil, a zomedy known as “Evil: In the Time of Heros” starring Billy Zane and directed by Yorgos Noussias.
As a small time pawn, Alkis Vidalis has prowess in formulating plans quickly; they may not go accordingly and he may break a nose or a leg in the process, but Alkis, like a cat, always seems to land on his two feet when in a skirmish with hired henchmen, coming out bloody but on top. Alkis isn’t a killer but has to become one in order to survive and even though he’s the central character to the story, mystery shrouds around him in what drives the favorable anti-hero to not cower and stay alive other than pure, animal instinct. Konstadinos Aspiotis has the chops to bring Alkis to the screen and express that oxymoronic quality of unsure confidence in Alkis’s mob misadventure. Tsilifonis writes voice over monologue in Alkis’s voice, as if he’s telling a story to the audience, for exposition purposes that describe the setup and the characters which fundamentally weakens the film, but for this particular tale, the voice over monologue is warranted. Aspiotis has numerous interactions with various characters but more so with Makis Papadimitriou as Peter, a low-level enforcer trying to make a name for himself. More like a caretaker than an enforcer, Peter has one job: to make Alkis think they’re friends and then kill him. However, Peter, who isn’t necessarily a screw up, fudges his task and caught in one of Alkis’ fly by the seat of your pants plans. The character is etched with more a selfish attitude toward everything when the tables turn on him and Papadimitriou cultivates all of Peter’s self-regarding desires into the correct power and survival categories while his dynamic with Alkis is looking at himself in a mirror. They mirror so much so that both characters receive their own perspective of the same event. Other characters intertwine with the two leads and they’re played by Mirto Alikaki, Christos Loulis, Argyris Xafis, Panos Koronis, and Themis Panou.
Tsilifonis script has an affinity for pop culture, referencing various films and TV shows by name, such as Martin Scorsese’s “Goodfellas” or HBO’s “Game of Thrones” for example, to juxtapose events and/or characters on a mafia level. Films and television shows are not alone in this homage of iconography as social media websites and their viral and trendy sensations are integrated into the script as table talk conversations. 4chan, Youtube, and The Fappening are particularly referenced when the editor of Alkis’s testimony, also a porn editor with an inflatable sex doll, finds the conservatively torrent side of Google’s acquisition of Youtube distasteful for edgy content and the humor in the bare exposures of star-studded private lives and photos with 4chan and The Fappening while thumb jockeying a Playstation controller in midst of conversation with Peter who seems relatively neutral about these things. Even though suavely placed, “Do It Yourself” frequently uses the pop culture tag words in excess that render them redundant and tiresome that when in retrospect, Tsilifonis could have completely omitted them and “Do It Yourself” can, well, do it itself. The only other gripe with “Do It Yourself” is if the plot takes place entirely in a porn studio, then where was the nudity? Am I wrong?
Artsploitation Films delivers another knockout thriller title from their eclectic catalogue with Dimitris Tsilifonis’s “Do It Yourself” on DVD home video, presented in an anamorphic widescreen format, 2.39:1 aspect ratio. Between Aggelos Papadopoulous’ depth defying photography and the impressive visual effects that flawlessly moves and puts a building in the middle of nowhere, the transcendence image quality is one with this release as it’s practically impossible to conclude what’s real and what a visual effect. Other visual effects of displaying Ikea like instructions on the side of a building, showing the cell phone screen next to Alkis, or having subtitles embedded into portions of the wall are unique and clever, but too far and in between that ends up being an inconsistent inconvenience. The dim tint sets the tone while still mastering the color palate. The Greek language Dolby Digital 5.1 surround sound allows you to hear every glass break, every ping of a bullet ricochet, and every guttural and verbal echo in the reverberating car garage through the five channels. The prominently Greek with little English dialogue is in the forefront amongst a well-balanced range and depth of sounds like hearing the muffled voices behind glasses, the soft moans and groans of porn actors behind the fake walls, and, on the other side, the high squeal of a racing tire wheel. Bonus features include a three small featurettes that revels how the camera shot elevated up from ground level to the top, another was the visual effects breakdown in creating the building structure, and the last being two deleted scenes. Dimitris Tsilifonis’ has a commentary track and 14 minute short film “The Way of Styx” is also available. “Do It Yourself” is no Bob Vila special on how to repair the seeping drips from a leaky sink with your own two God-given hands, but the Dimitris Tsilifonis film bustles with fun in a deluge of crime and betrayal and that, my friends, is a priceless enlightened experience.
Times are tough. Loads are scarce. For John Canyon, being an independent owner operator space trucker in the year 2196, without the influential assistance of conglomerate sponsors and big corporations, is the last freedom in the last great frontier, but even Canyon needs to earn a living and when a questionable load becomes his only way out of a jam with the authorities, Canyon and his new and young partner, Mike Pucci, snatch the haul bound for Earth. Manifested as carrying sex dolls, Canyon and Pucci become suspicious of their cargo that’s loaded with a fatal self-defense mechanism, but when encountered by space pirates, lead by former company man named Macanudo, the space truckers learn their hauling thousands of virtually unstoppable killer cyborgs programmed to conquer Earth.
In today’s age, a nationwide driver shortage threatens to slow down crucial logistics worldwide. Director Stuart Gordon (“Re-Animator,” “Dagon”) with co-writer Ted Mann had the inverse premonition that trucker cargo would be at a premium in the space; the point A to point B in a timely fashion has not and neither have the negotiations of rate costs and demurrage time in this world-saving adventure entitled “Space Truckers.” In the same science fiction-comedy vein as the similarly colorful Luc Besson’s “The Fifth Element,” “Space Truckers” has that unrefined inviting quality about it, categorized as blue collared heroes, that complete the dynamic character arcs, but what’s more interesting about “Space Truckers,” which was released a year earlier than Bruce Willis film, was that it was constructed on a third of the budget, making the film one of Stuart Gordon’s most expensive and ambitious projects chocked with square pigs in cages, a self-built cyborg with a ripcord sexual organ, and an army of ass-kicking fembots with disintegrated lasers…”Space Truckers” is out of this world fun!
In the realm of Sci-fi comedy or fantasy, one legendary actor has nailed his performance in every flop that’s too big for commercial audiences. From “Waterworld” to the movie adaptation of popular and beloved video game, “Super Mario Bros.,” Dennis Hopper ruled the 1990’s with memorable, fascinating, and engaging overweening characters, especially villains, but Hopper snags John Canyon, a long in the tooth trucker who prefers to work alone. Hopper’s in his element, in control, and in the lead role despite not being top bill; instead, a young Stephen Dorff would be eyed as the one to provide fresh protagonist momentum into the mid-nineties. Dorff’s rather low-key to Hopper’s giant persona and that’s inherit to the character’s written traits, by always complimenting and complying with and whatever John Canyon says, but the soon-to-be “Blade’s” Decon Frost actor has a sturdy performance that’s portly as any trucker can be portrayed and has great repertoire with Debi Mazar as a trucking hub waitress who needs a hitch a ride to Earth. Mazar’s all-natural New York City accent compliments her guido-type character attire and she downplays her beauty with instilling innocents and ramping up the wit when the scene calls for it. “Game of Thrones'” Charles Dance makes an appearance as the space pirate captain Macanudo and Dance has always has a steel complexion, but in “Space Truckers,” he lets his hair down as far as becoming subjected to hours worth of cyberpunk makeup and prosthetics that’s comically outlandish and utterly fleshy. Certainly not a role one would consider the actor who comes complete with a rich British accent and an urbane quality about him to then sport a sparkling fishbowl cranium and a battleship gray half a buttocks. The remaining cast includes George Wendt (“King of the Ants”) and Shane Rimmer (“The Hunger”).
CGI was relatively in the early stages of infancy; yet “Space Truckers” had an astonishingly working blend of computer generated imagery and palpable miniature models that were supported with an integrated futuristic edifice style of production design by Simon Murton, whose speciality is high concept science fiction with illustrative art department experience that includes “Demolition Man,” “Tank Girl,” “Judge Dredd,” and “Stargate.” Murton’s style incorporated with the bright colored visuals of neon flicker marquees, illuminating body parts, and red hot poker red infrareds hues are the very antagonistic views of a cold and dark space, yet Gordon and his crew envisioned characters who sought out color, who wanted nothing to do with the darkness, and that’s what made them colorful and maybe a bit off-kilter.
Stuart Gordon’s stellar “Space Truckers” rockets to a region B, 1080p Blu-ray courtesy of UK distributor Second Sight that delivers with a widescreen presentation, 2.35:1 aspect ratio, that has out of this world image quality vividly displaying the massive color palette through a 2K restoration from the 35mm negative. Running at nearly 24 fps, Second Sight’s edition is superior in detail, cleanliness, and balance amongst the coloring and despite being able to see the special effect wires, “Space Truckers” has one of the best restorations I’ve seen lately under the black Blu-ray box laced with new artwork by graphic designer Rich Davies. The English 2.0 LPCM uncompressed stereo track, with optional subtitles, has immense range across the board. From cheesy John Canyon dialogue to the vary of space-kindred ambience, not one track felt short to being muddled or murky. Colin Towns bigrig score is big country cadence that’s emits a well-rounded six pack from the dual channel sound. The robot’s disintegrations amplify a high pitch note that can be a thorn in one’s ear, but adds to the chaotic charm when all hell breaks loose in space. Bonus features include a new interview with Stuart Gordon delving into the film’s beginnings and his recollections with the stars, and a new interview with composer Colin Towns (“Rawhead Rex”), a new interview with Art Director Simon Lamont (“Event Horizon”). “Space Truckers” is 96 minutes of mudflappin’ mayhem strapped with slender models in killer robot suits and Charles Dance’s exhibiting his tin-can half-nakedness in a bizarro world of high concept meets tongue-and-cheek performances of a film that ultimately pits the epitome of the blue collar workforce as the unsung heros of space.
Journeying from the South to reside with her son Michele, Lea is a boisterously strong matriarch whose suffered through twelve miscarriages in fifteen years and has become insanely protective of her sole breathing progeny. Michele lives in a stately condominium that accommodates an eclectic bunch of women of various tastes, housing his mother Lea to mix as a lottery fortune teller of sorts. Lea’s talents go beyond just predicting winning lucky numbers as she’s also a fantastic cook in the kitchen, a superb soap maker, and an efficient killer that supplements the prior traits. Madness consumes a mother who seeks to absolutely protect her only child and a contractual deal with Death itself orders the end of minuscule lives, such as the other tenants of Lea’s apartment building, to fulfill her obligations to Death.
I promise you, you’ve never seen a Shelley Winters performance like this! “Gran Bollito,” otherwise known in the U.S. as “Black Journal,” is a 1977 Italian macabre from director Mauro Bolognini and has for the first time ever been slow cooked to Blu-ray high definition. “Gran Bollito” has been resurrected from the archives of production company Italfrance Films’ with Shelley Winters (“The Poseidon Adventure”, “Lolita”) exploiting her mother’s animal instincts to provide Death with as many souls as she can chop up and boil into a lathery substance. “Gran Bollito” loosely translate as very boiled, a form of murder that would top the charts and these heinous acts were, in fact, inspired by the true, inexplicable story of an Italian serial killer named Leonarda Ciancillui, a soap maker whom sacrificed three women in hopes to protect her war drafted son. Alongside mother mayhem are a trio of cross-dressing actors portraying the three victims; actors such as singer-actor-director Renato Pozzetto, Italian sex-comedy actor Alberto Lionello, and the legendary Max von Sydow (“The Exorcist,” “Game of Thrones”) go full blown drag, donning the period piece’s late 1930s conservative wardrobes while conducting themselves loosely with their intimate and delicate privacies.
As I mentioned, “Gran Bollito” tackles numerous undertones with multiple notations of the horrors of war and the inexplicable amount of death from it as well as from disease, to miscarriages, and to the actual beheadings to sustain a red soap bar factory and food processing plant Lea runs in her custom made kitchen. The Bolognini film also notes many facets of mental illness and health with merely Winters’ topping the psychological pyramid. Conditions consisting of states from a stroke, absentminded dementia, and severe delusions to name a select few are displayed throughout to which almost puts the perception of Lea, or maybe Lea’s perception, one of relative normalcy. Lea’s derangement stems from her fifteen years of pain and suffering through multiple miscarriages. Bolognini very conspicuously has Pozzetto, Lionello, and Sydow portray Lea’s victimized women. They represent Lea’s resentment for their wasteful contributions toward their natural given right to bear children as if the women were merely men without a womb and that strikes a sensitive nerve with Lea who would do anything to give her children life again.
Generally, Bolognini’s constructs a well paced film, seamlessly passing the days, weeks, or months from Lea’s condominium integration to the slow seep that eventually breaks into maddening despair and desperateness. The cinematography by Armando Nannuzzi is soft and lofty that appeases to angelic similarities akin to that of Tinto Brass films, but when the tide turns, her kitchen brights white and Lea is dressed in midnight black as if she’s the Grim Reaper herself. Nannuzzi’s an artist at his trade by enabling Shelley Winters to shed the wholesome of her prior performances and at the same time present a false sense of calm and good fortune. Composer Enzo Jannacci’s score underwhelms when accompanying said Nannuzzi’s style; the score’s flat and breathy tone just doesn’t leave an impression, lacking substance and girth that doesn’t quite fit the Bolognini’s mold. Though acting and performing not in her native country, the St. Louis born Shelley Winters extracts a true life serial killer from off the Italian crime section.
Twilight Time’s “Gran Bollito” is now on a Blu-ray High Definition 1080p transfer presented in a widescreen 1.85:1 aspect ratio. The limited edition release look impeccably detailed, sporting natural coloring and depth. Twilight Time, by far, has the best image quality compared to any release. The Italian 1.0 DTS-HD Master Audio is pretty good with balanced range and clarity in all aspects of audible tracks with only a minor pops in the tracks during transitional scenes. Bonus features include an audio commentary with film historians Derek Botelho and David Del Valte with also the original theatrical trailer. Twilight Time polishes “Gran Bollito” with the respect this obscure Shelley Winters film deserves; a horror-comedy that pushes the limits bordering insanity and disparity in a twisted display of narrative too intriguing to fathom.
Former pin-up model Virginia “Ginny” Smith lives a solitary life on the street of a quiet Buffalo, New York suburban neighborhood. Her modeling past was prosperous, posing erotically with curves similar to that of pin-up queen Bettie Page, up until a newer, thinner model named Chloe undermines Ginny’s magazine spread career. Feeling abandoned, physically tortured, and seeking revenge throughout the years, Ginny eats up the competition from thin, to the fake, and to the virginal…literally! Sal and his mentally instable wife Debbie move in next door to Ginny. Soon after, Debbie suspects that her elder neighbor might be up to no good as people go into Ginny’s house but never come out. Chalking up her suspicions to psychosis, Sal ignores Debbie’s accusations until he mysteriously perishes in a car accident. Now nothing can stop Debbie from investigating into Ginny’s cold blooded habits.
“Model Hunger” is the long awaited directorial debut from long time scream queen and B-movie horror icon Debbie Rochon that publicly displays the dementedness clinging to the inner walls of her brain. Helming from off the screenplay penned by “Seed 2” producer James Morgart, Rochon quickly denotes the position of anti-supermodel figure, turning the thin, the snooty, and those who encourage that sort of behavior into nothing more than a gloppy stew of human chow. “Model Hunger” parodies the serious nature of young women whom go to extreme lengths of imitating the model beauties of today, but the film isn’t a clear-cut horror-comedy per say; instead, the genre of a bizarre cannibalism life style or social commentary revenge film might better suite the self-centering tone.
The premise most definitely classifies as a film Debbie Rochon would personally headline; Rochon personalized “Model Hunger” to her taste, but this time, Rochon’s sister-in-horror, Lynn Lowry (George A. Romero’s “The Crazies”) headlines as the vengeful, cannibalistic Ginny Smith. Lowry puts the hot in psychotic with a Southern Belle twist, delivering a memorable performance as a cougar-gone-cannibal and her character scores much of the Morgart screenplay dialogue that is overwhelmingly philosophical and ranting compared to a more downplayed principal character in the film’s third horror star – the veteran Tiffany Shepis. Shepis is Debbie next door and though that sounds like a title of a boorish 70’s porn, Debbie struggles with being burned out from a psychosis state that results in plagues of nightmares and prescribed pills. Aside from maybe the pill popping, nothing about Debbie’s persona brings to mind a porn starlet.
Contrary to a pair prominent female actresses who bring talent and experience from cult films such as “Tromeo and Juliet” and “Shivers” and a highlight of co-stars including the wonderful Michael Thurber (“The Sins of Dracula”), Brian Fortune (“Game of Thrones”), Carmine Capobianco (Psychos in Love) and “Chainsaw Sally’s” Suzi Lorraine casted ironically as a voluptuously large television host of “Suzi’s Secret,” the James Morgart script just couldn’t pull all the talent together. Points of unfocused storytelling noticeably stemmed from the first few scenes involving uncouth and dolled up cheerleaders practicing their routine, receiving their fundraiser packet, and going door-to-door soliciting. These segments run a natural course of supposedly setting up Lisa Dee (cheerleader Missy in the film) and Samantha Hoy (cheerleader Katie in the film) as the film’s leads. The squad practice could have been completely omitted and the story would have worked just the same without bamboozling the main players Lowry and Shepis. The script drags to a slow drift during the second act by not proceeding with much character progression other than Ginny slaughtering snared victim-after-victim to fill her icebox of superficial-inspired characters.
Honestly, the expectation of graphic violence had a sky high bar set upon the shoulders of Debbie Rochon’s inaugural film, but the special effects violence was unusually tame to a point, containing nothing too new and too extreme until near the finale that involves a naked Jehovah Witness and a medical grade scalpel. Aside from the lack of gross gratuity, the effects were borderline choppy; a prime example to consider would be the obvious rubber baseball bat, wielded by Ginny, that sprung forward and backward, like something out Looney Toon’s ACME company, when striking against an object, but “Model Hunger” was riddled, subtly throughout, with equipment flaws such as equipment shadows in scenes and a continuously shaky camera.
Wild Eye Releasing’s unrated DVD is presented in a widescreen format with a Dolby Digital 2.0 audio mix. Aside from some awkward framing and a bitrate issue that causes a bit of blotchiness, the digital camera video looks good for the most part with an audio mix from “Friday the 13th” composer Harry Manfredini that’s well balanced. The director commentary, in the bonus features, is a highlight of the extras with Debbie Rochon letting you into her creative side of her film. The commentary is accompanied with deleted scenes, music video, an interview with Aurelio Voltaire, a Babette Bombshell short, trailers, and an Easter Egg! Overall, the underlining point is clear of reverse body-shaming in a very Hatfield versus McCoy scenario and Debbie Rochon, for her cherry-popping film, creates a solid horror entry that displays it’s quality scars and hiccups which the film, nor Rochon, apologizes for and that’s a filmmaker, and actress, I can get behind.
Travis, an underground shock comic artist, stirs up a world of trouble with Chinatown crime lord and illegal pesticide seller Leonard Fong when his latest issue of Vulgarian Invasion makes the criminal kingpin a colorfully filthy farce. In response, Fong and his goons table saw Travis’s writing hand off. With his livelihood separated from the rest of his body, Travis falls into a depressive slumber to where he doesn’t leave his apartment, find new work, or even take a stand for revenge. The same cannot be said for his decomposing hand that suddenly revives and confronts Travis. Looking to settle the score with Fong and his gang, Travis and his appendage join forces with a true to life S&M superhero based of one of Travis’s caricatures and take up arms (get it?) against Fong’s criminal syndicate.
“Bloody Knuckles” is vulgar, distasteful, and offensive – I loved every minute of it! Director Matt O.’s (Matt O’Mahoney) debut feature film from Canada makes “Idle Hands” seem weak and childish in comparison. The “Addams Family” Thing is a cutesy puppy dog whose sporting a knitted winter sweater while the “Bloody Knuckles” Hand is cracking skulls as it’s cracking it’s own bloody knuckles in a spiked leather jacket. This Hand is more like the Ash’s evil hand from “Evil Dead 2!” There hasn’t been this much fun in a film in awhile and I’m considering the Matt O. film to be one of my favorite horror Blu-ray releases of 2015 from Artsploitation Films. “Bloody Knuckles” has it all: limitless violence, scrupulous comedy, glorified gore, a penchant for the politically incorrect, nudity, a living severed hand, and a gay S&M badass looking to spank to death the opposition.
Mainly, the underlying message of “screw censorship” hits, in a good way, the main artery for this reviewer as our lovely site, Its Bloggin’ Evil, is all about pushing the boundaries, divulging the full story, and leaving everything out on the table for all to bare witness. Being crass is nice too and that’s “Bloody Knuckles” schtick; a unique stance that most films and filmmakers won’t risk due to the fear of their work not being picked up and released, shunned and stored deep in the depressing closets of death and disparity. “Bloody Knuckles” splays the notion of artistic freedom throughout the duration and in many different formats from comics, to the press, and to shock art.
The special effects were top notch quality and handled by the Academy Award-nominated company Image Engine of Vancouver, who had their hands mixed into major studio work such as James Gunn’s “Slither,” HBO’s highly praised television series “Game of Thrones,” and the prequel to John Carpenter’s “The Thing.” The Hand, whether as a live hand with makeup or a prosthetic one, never looked underfunded or cheesy. The Hand was given a Frankenstein life and was appropriately made into a sympathetic character. Even though Hand is part of Travis, Hand is actually a woman’s hand, Krista Magnusson’s hand to be exact, and not even for a second will you be able to tell. The rest of the effects don’t disappoint; the exaggerated gruesomeness of certain effects shots brings back memories of watching “The Stuff” and “Riki-Oh: The Story of Ricky!”
Aside from Krista Magnusson, the lineup of actors and actresses were destined to portray these character roles. Kasey Ryne Mazak as the ruthless and merciless Leonard Fong had pegged perfectly the well-dressed with an oversized ego but with a short stature stereotype. Dwayne Bryshun as Homo Dynamous, a Travis’s gay S&M superhero, brings to life such as an extravagant character, turning a simple gay caricature into a living and breathing bondage Bond. Lead actor Adam Boys as Travis could turn on the charm, the sarcasm, and the girly scream on a dime and so naturally that Travis instantly becomes a likable character. The witty and gritty banter between all the characters, even Hand using the type-to-speech function on Travis’s computer, is well written and doesn’t bog down the blitzkrieg story.
I can’t say I’ve yet to come across a poor release from Artsploitation Films. Aside from a controversial and entertaining subject matter of the films, the Blu-ray’s 1.78:1 aspect ratio has great quality that can outshine many competitors. The Blu-ray of “Bloody Knuckles” contains a clean and sharp image that doesn’t become murky in the darkness to which the film is mostly set, whether being night outside or in dark inside quarters. There’s slight posterization during the a few pitch black night sequences, but I found that everything was nicely outlined or visible without little interference from it. The 5.1 DTS-HD Master Audio is the preferable option if you have the equipment; the dialogue is at the forefront which is key for this film and the rest of the tracks are well-balanced. Other audio options include a 5.1 Dolby Digital and a 2.0 Dolby Stereo. There are tons of extras clocking around 130 minutes worth of content and the icing on the cake with the whole release is a portion of Travis’s comic Vulgarian Invasion on the reverse side of the Blu-ray cover art. Hands down, “Bloody Knuckles” is a must own!