Third year medical student Dan Cain is on the verge of graduating from the New England Miskatonic University Medical School. That is until Dr. Herbert West walks into his life. Learning all he can from neurologist Dr. Hans Gruber in Zurich, Switzerland, West eagerly enrolls as a student at Miskatonic to viciously dismantle, what he believes, is a garbage postmortem brain functionality theory of the school’s grant piggybank Dr. Carl Hill while West also works on his own off the books after death experiments with his formulated reagent serum. West takes up Cain’s apartment for rent offer and involves Cain in a series of experiments that lead to reviving the old and the fresh dead. The only side effects of revitalizing dead tissue is the unquenchable rage and chaos that urges the recently revived to rip everything to shreds. Things also get complicated and people begin to die and then revive when West and Cain’s work becomes the obsessive target of Dr. Hill, whom discovers the truth and plans to steal West’s work, claiming the reagent serum as his own handiwork while also attempting to win the affection of Dr. Cain’s fiancee and Miskatonic’s Dean Halsey daughter, Megan Halsey, in the most undead way.
A vast amount of time has passed since the last time I’ve injected myself with the “Re-Animator” films and I can tell you this, my rejuvenation was sorely and regrettably way overdue. Stuart Gordon’s impeccable horror-comedy, “The Re-Animator,” is the extolled bastardized version of Mary Shelley’s Frankenstein without direct references and begins the ghastliness right from the initial opening prologue and never wanes through a fast-paced narrative of character thematic insanity and self-destructing arrogance with hapless do-gooders caught in the middle of undead mayhem. Producer Brian Yuzna financially backs Charles Band’s Empire International Pictures distributed 1985 film that’s based loosely off the H.P. Lovecraft 1922 novelette “Herbert West-Reanimator.” From a bygone novelette to an instant cult favorite amongst critics and fans, “Re-Animator” glows vibrantly like it’s reagent serum embodied with reality-buckling entertainment and grisly havoc displayed through the silver screen adapted form. Umbrella Entertainment has released a two-disc collector’s set, the first volume on their Beyond Genres label of cult favorites, and this release, with various versions, will include the allusive 106 minute integral cut!
From his first moments on screen holding a syringe to over three decades of pop-culture films, comics, and social media presence, nobody other actor other than Jeffrey Combs could be envisioned to be the insatiable Dr. Herbert West. Combs is so compact with an explosive vitality that his character goes beyond being a likable derivative of a Machiavellian anti-hero. Narrowing, dagger-like eyes through thick glasses on-top of small stature and a cruel intent about him makes Combs an established horror icon unlike any other mad doctor we’ve ever seen before. Bruce Abbot costars as Dr. Dan Cain, a good natured physician with a penchant of not giving up on life, but that’s where he’s trouble ensnares him with Dr. West’s overcoming death obsession. Abbott’s physically towers over Combs, but his performance of Cain is softly acute to West’s hard nose antics. Abbott plays on the side of caution as his character has much to lose from career to fiancée, whose played by Barbara Crampton. “Re-Animator” essentially unveiled the Long Island born actresses and made her a household name who went on to have roles in other prominent horror films, including another Stuart Gordon feature “From Beyond,” “You’re Next,” and the upcoming “Death House.” David Gale rounds out the featured foursome as the detestable Dr. Carl Hill. Gale embraces the role, really delving into and capturing Dr. Hill’s maddening short temper and slimy persona; a perfect antagonist to the likes of Combs and Abbott. The remaining cast includes Robert Sampson (“City of the Living Dead”), Carolyn Purdy-Gordon, and Peter Kent.
The “Re-Animator” universe is right up there with the likes of Sam Raimi’s “The Evil Dead.” Hell, there is even a line of comics that pit the two franchises together in a versus underlining. Unfortunately, “Re-Animator” is frankly nothing without the franchise star Jeffrey Combs, much like “The Evil Dead” is nothing without Bruce Campbell even though we, as fans, very much enjoyed the Fede Alvarez 2013 remake despite the lack of chin. Gordon’s film needs zero remakes with any Zac Efron types to star in such as holy role as Dr. Herbert West. That’s the true and pure terrifying horror of today’s studio lucrative cash cow is to remake everything under the genre sun. Fortunately, “Re-Animator” and both the sequels have gone unscathed and unmolested by string of remakes, reboots, or re-imagings. Aside from a new release here and there, such as Umbrella’s upstanding release which is fantastic to see the levels of upgrades up until then, “Re-Animator” has safely and properly been restored and capsulated for generations to come.
Umbrella Entertainment proudly presents the first volume of the Beyond Genres’ label with Stuart Gordon’s “Re-Animator” on a two-disc, full HD 1080 Blu-ray set, presented in a widescreen 1.77:1 aspect ratio. A very fine and sharp image quality that maintains equality across the board with minuscule problematics with compression issues, jumping imagery on solid colored walls for example, but the issues are too small amongst the rich levelness of quality and when compared to other releases, Umbrella Entertainment’s release is a clear-cut winner. The English DTS-HD master audio puts that extra oomph into Richard Bands’ score that’s heavily influenced by Alfred Hitchcock’s “Psycho,” adding a pinch of chaotic gothic charm to the macabre story. Dialogue is balanced and upfront, but there isn’t much prominent ambient noise to put the dialogue off-kilter. Special features on the first disc include the 86 minute unrated version of “Re-Animator,” audio commentaries from director Stuart Gordon, producer Brian Yuzna, and stars Jeffrey Combs, Barbara Crampton, Bruce Abbott, and Robert Sampson; there’s also a “Re-Animator Resurrectus” documentary, 16 extended scenes, and a deleted scene. The second disc includes the 106 itegral cut along with interviews with Stuart Gordon, Brian Yuzna, writer Denis Paoli, composer Richard Band, and former Fangoria editor Tony Timpone. Plus, a music analyst by Richard Band, TV spots, and the theatrical trailer. All this and a bag of corpses is sheathed inside a remarkably beautiful encasement with a seriously wicked custom slipcover desgin by illustrator Simon Sherry. There’s also reversible Blu-ray casing cover art with previous designs incorporated. H.P. Lovecraft would be extremely flattered and proud on how Umbrella Entertainment not only enhanced the film adaptation of his classic tale of macabre, but also with how diabolically attired the release is distributed. A true horror classic done right!
Experimental doctor, Anton Lupesky, invents a controversial drug that can free a human soul from its vessel and travel through into the lifeless eyes of a corpse, possessing the body to reanimation. The only side effect is grotesque hallucinations that are so horrible, few survive the experience. After a stint of missing persons and a string of mysterious deaths at the Whitebriar Institution, Lupesky is fired from his position, banned from the medical board, and brought up on criminal charges. His acquittal sparks him to embark on a journey overseas to continue his radical medical experiments, away from regulations and tremendous oversight. The doctor returns six months later for far superior medical innovations in America and begins practicing again in his own basement with the unscrupulous help from a couple of lackey acolytes that leaves Lupesky’s supply of “patients” not in short demand. One reporter keeps investigative tabs of the good doctor as she suspects a connection between him and her father’s death at Whitebriar and when her and her friends starts to snoop around, Lupesky has no choice but to use any means necessary to thwart her investigation, even if that means secretly administrating the drug to her in hopes that her soul can fly with his – if she survives.
Thirty years ago, “The Soutangler” hit the cinema market. A low-budget gruesome mad scientist flick with a penchant for some fantastically grisly practical special effects. The 1987 shocker was directed by Pat Bishow, penned by John Bishow and Lance Laurie, and shot on location on Long Island, New York. The Do-It-Yourself and Lovecraftian macabre does a bit of soul-searching to find resurrection from the video graveyard. Luckily, Bleeding Skull! Video and the AGFA come to the rescue with a chock-full of extras release that digs up the Bishow’s lost creation, dusts it off, cleans it up, pats it on the butt, and sends it back out into the world onto DVD home video. “The Soultangler’s” niche envisioning goes against the grain of traditional filmmaking, bordering experimental, but definitely a must-see for those interested in existentialism horror: the removal of free will to be replaced by another’s.
Pierre Devaux stars in his only credited as the mad Dr. Anton Lupesky that resembles along the lines of a Dr. Herbert West from that little known trilogy of the H.P. Lovecraft inspired “The Re-Animator.” With a wiry frame, stringy shoulder length hair, and government-like issued classes, the very animated Pierre Devaux casts the ideal character whose maniacal and perverse in his medical malpractices. The only one willing to stop the Lupesky’s experiments is investigating journalist Kim Castle of The Daily Chronicle. Castle, played by Jane Kinser, is about as ferocious as her beautiful as an aggressive reporter, unwilling to stop to unearth the truth of her father’s tragic death. Kinser’s not much of an onscreen force to reckon with as she’s quite timid, but she manages to hold her own up against Devaux wild eyed lunacy. Rounding out the cast is Bob Cederberg as a Carl the drugged addict henchman, Louise Millman as a loyal minion to Lupesky, and Tom Ciorciari as Castle’s concerned friend who battles the zombified corpses embodied by Dr. Lupesky.
While a strong appreciation exists from the outstanding attention to detail with the decayed bodies and the explicit violence in the finale that nightmarishly flourish in a heap of ghastliness, the rest of the film is as disjointed as the dismembered bodies in Lupesky’s basement of horrors. Despite being submersed in various talking head scenes that divulge significant backstories between Dr. Lupesky and Kim Castle, the story struggles to keep the straight line focus, swerving erratically between subplots and the main premise. Castle’s horrific dreams of aggressive zombies loosely makes a connection other than prepping Castle’s subconscious when ingesting Lupesky’s soul freeing drug. The story of Dr. Simpson also flounders to the waist side with her and Dr. Lupesky’s love affair, the only women he would even consider getting close to and not slaughter for his own amusement.
“The Soultangler” arrives onto full-bodied, graphically illustrated DVD from the B-movie collaborators Bleeding Skull! Video and the American Genre Film Archive (AGFA) and distributed by MVDVisual from the original 1″ master tapes. Shot on 16mm, but edited on video, “The Soultangler” has a SOV experience in it’s original aspect ratio of a full frame 1.33:1. Quality varies from the source material, including some tracking and edge flare issues, but overall a solid transfer with a sizable color palette that includes tints, natural skin tones, and visceral dream sequences that show little-to-no sign of diminishing. Stereo mono track does the job despite poor mic placements to get the full girth of dialogue. HypnoLoveWheel’s indie synth/rock soundtrack has more popularity on the B-level than in the mainstream music, but serves “The Soultangler” with broad depth to solidify a wedge between “The Soultangler’s” whimsical charm and the Gothicism that is Stuart Gordon’s “Re-Animator.” Bonus features include, for the first on any release, the Unseen 62 minute alternate director’s cut, a commentary track with director Pat Bishow, behind the scenes footage, trailers for “The Soultangler” and “Dead of Night Town,” music video for “wow” by HypnoLoveWheel, and liner notes by Bleeding Skull’s Zack Carlson. Conceptually, “The Soultangler’s” premise oozes originality and creativity involving soul transformations through the portal eyes of a dead body and that’s simply brilliant and what today’s horror genre certainly craves. Constructionally, Pat Bishow couldn’t push the momentum to pickup the pace to overripe an engaging story, but the climax, out of left field, unsheathes a bloodbath of ultra-stellar, DIY proportions!
Sara, a desperate young mother, infiltrates a secret facility workplace under the false pretentions of becoming an employee of the critical janitorial department. After losing custody of her adolescent daughter Jenny in court, the child becomes misplaced when her custody awarded father, an employee, loses Jenny in the facility that’s conducting unusual activity involving the building’s light energy source. With everyone on constant edge and under the powerful and dangerous influence of the light, including her very organized and unstable employer, Sara is able to find a sympathizer in the head janitor and by exploiting his mental map and valuable knowledge of the building, Sara goes deeper into the structural bones of a nightmarish reality where evil lurks in the shadows and not everything is what it seems.
“Feed the Light” is a H.P. Lovecraft inspired sci-fi horror directed and co-written by indie filmmaker Henrik Möller with Martin Jirhamn sharing the co-write. The gothic tale stems from the Lovecraft short story “The Colour Out of Space” that tells the tale of a meteor crash landing in the hills near Arkham, Massachusetts, poisoning and deforming all the living creatures nearby that creates chaos amongst the locals. The light, that never dulls, becomes the driving force of everything malevolent and that carries over into Möller’s film, but isolates the setting to a dilapidated building instead of a natural landscape and focusing more on the people inside rather than vegetation or livestock as the Lovecraft short story builds upon. Originally shot in color, Möller thought best to suck the color out from the reel and produce a mostly black and white film, sprinkled with color at strategic moments, that would convey the importance of the ever-present light and interpret a far more dramatic effect to play out; a decision I whole-heartedly agree because if laced with color, much of the abandoned warehouse setting would be a monotonous eye-sore. Instead, black and white enhances the light’s presence, makes it almost seem to stand out amongst the greyscale, and give way to more inspirationally vibrant hues when they are revealed.
For Henrik Möller, this is the director’s first dive into feature films and for the filmmaker whose better known for his shocking shorts, “Feed the Light” doesn’t water down the deranged, creative machine that just steam-plows through a 75-minute runtime and still managing to be mechanically sound to comprehend the Lovecraftian tone. Lina Sundén fills the lead shoes as Sara and Sundén embodies complete innocence and bewilderment when her characters goes forth into this strange facility, but doesn’t show much fear as if a mother’s determination is her driving force to go beyond being what frightens her. Alongside Sundén is Martin Jirhamn, who you might remember me saying he co-wrote the script, as the sympathizing janitor. Jirhamn has collaborated on many of Möller’s shorts, feeling comfortable taking on the challenge of a full length feature by taking on more of a scripted role that has a face with two sides. Rounding out the cast of memorizing characters are “Not Like Others'” Jenny Lampa as an authoritarian boss of the facility who tries to keep Sara from going on Indian Jones and the Raiders of the Lost Ark in the basement and Patrik Karlson otherwise known as the VHS-Man and Jenny’s father in the film.
“Feed the Light” has undertones beyond that of Lovecraft. The story feels nearly anti-establishment, a surreal and extreme look at how doing the same job, in the same office, staring at the same fluorescent lights can make one loose one’s humanity. The boss is a strict enforcer of the rules and doesn’t shrug at the thought of one of her employee’s burning out as long as the job gets done, but it’s not burning out that’s the problem. The light symbolizes obedience and control, turning those with a soul into mindless workers. There’s an unseen power embodying them such as with the dog man, played by Morgan Schagerberg, who, literally, sounds and acts like a canine that just happens to have glittery dust goo ooze out of it’s anus. Yup, weird. “Feed the Light” is jarringly weird, but also laminates into the prospect of hidden doom that’s very similar to the truth is out there concept reveled in the “X-Files.”
The Severin sub-label, Intervision Picture Corp., usually subjects us to older projects, but embraces newer indie films such as Henrik Möller’s “Feed the Light” and with the help of CAV Distributing, Möller and “Feed the Light” can be exposed to every house hold on Earth as a region free Blu-ray in 1080p full Hi-Def. The full frame is a staple of Intervision and doesn’t necessary cause any distress over cropped images. There is a fair amount of interference, but again, only enhances the indie labels reputation. Other than that, the image is fine laid under a Swedish language dual channel audio track that’s well balanced with a brooding industrial soundtrack by Testbild, a Möller familiarity. There are two extras accompanying the feature: one is a making of featurette and the other is an interview with the director, Henrik Möller. “Feed the Light” is a science fiction oddity chocked full with surreal depictions and nightmare creatures with a Lovecraft base and a passionate director’s otherworldly view of how light and color powerfully dictate our everyday lives.
Hellbent on being the first to discover something big between 1000-feet, talented marine biologist and ecologist, Olive Crown, constructs a convincing case in a video hiring application to test a deep sea diving suit invented by Dr. Fletcher, but a harrowing encounter with monstrous creature at 2500 feet nearly claims Olive’s life. Blamed for a botch dive and unable to remember the incident, Olive has been fired from her dream position, but when she double checks the dive suit for evidence of what might have happened, she discovers an alien substance, an egg-like object, attached to the outer layer and smuggles it home. The egg hatches to birth a blood thirsty, Cthulhu being that has marked Olive as in a symbiotic relationship as protector and mother. Olive senses everything the creature does, even it’s hunger, and caves in to her discovery’s need to feed with those who antagonize Olive and her creature baby, but at an alarming rate, the life form grows into a mammoth creature and Olive might be losing the perspective of who is really in control.
“The Creature Below” puts a spin on a popularly wild H.P. Lovecraft tale and adds a notch into the belt of the Cthulhu mythos. From director Stewart Sparke in his first feature film comes one woman’s tragically macabre endowment that runs amok through the uninteresting confines of her own life and obliterate it from within. Co-written by Paul Butler, the British Cthulhu feature, “The Creature Below,” melds together a very grand unearthly story into the restrictive walls of an unwanted love triangle Olive’s involved in while dipping toes into also being a pre-Romero zombie film with the automata slave. Though very modest in story and budget, “The Creature Below” is an itsy-bitsy speck in a bigger mythological genre and that’s usually the case for indie Cthulhu flicks, as they should be, because giving a little mystery to Lovecraft’s myth tends to build worlds later, sparks the imagination aflame, and leaves a lasting impression long after the movie is over.
Anna Dawson stars as Olive Crown, creature’s foster parent, and Dawson’s first impression of Olive emits a fierce, go-getter ecologist, looking to make a name for herself in the deep dive exploration field. That egotistical drive tapers off a bit once she’s canned for botched dive, delivering a more humble and reserved Olive Crown, but Dawson puts on the sunken-eyed, icy-cold skin that’s clammy and deadlike in order to fulfill the infant Cthulhu’s bidding. Daniel Thrace embraces the lovably sweet boyfriend, Matthew, whose sensible, charming, and overall nice guy. The pair are complete oil and water, a welcoming dynamic, when Olive’s rationality goes off track. Olive and Matthew are really the only two developed characters as, disappointingly, three considerable major characters don’t build too much of a reputation to warrant their value, especially with Olive’s sister, Ellie, played by Michaela Longden. There’s something more between Ellie and Matthew that doesn’t quite hit the nail on the head and there’s also more to her staying with her sister, Olive, that the audience is not aware of and the scenes where Olive comments on her sister’s freeloading just loses all it’s credibility. The other two actors, roles awarded to Johnny Vivash and Zacharee Lee, are more involved in Olive’s deep sea dive and bring more of a well rounded antagonistic or betrayal personality to the table.
Sparke doesn’t linger too long on the creature, shielding it mostly behind a plastic tarp with a nude façade and that’s, perhaps, more in line with the micro budget constraints. In any case, Sparke focuses the story around Olive’s paranoia and obsession with the creature and with her boyfriend and the bitterness between him and her Sister, Ellie, seemingly toward Olive. Dave Walter has composed from start to finish a low and slow synth soundtrack, that’s familiar to a slowly anticipating heartbeat, and really heightens Olive’s spiraling paranoia similar to that of Ennio Morricone’s work on John Carpenter’s 1982 remake entitled “The Thing” where the eerily sounds of a personified isolation breaches every corner of your body, mind, and the dark room you’re in and all you can hear is that thump…thump…thump in a chest vibrating synchronicity of tones. While the soundtrack is riveting throughout, the story becomes a bit sluggish around the midsection in the sense that space and time don’t exists and Olive’s encounters with Dr. Fletcher, Dara, and various others, are halted to develop any kind of affluence amongst each other or with the audience. Even the ending, which I do adore on a certain level, bares the mark of being incomplete and devoid of substantiating that monolithic ending. There is some post-view satisfaction with the blend of practical and computer generated special effects and as I reflect on the film as a whole, to display a species from birth to adulthood, Sparke and his special effects team had amazing results that are fanned out well enough to leave a lasting impression of the unearthed creature’s visceral and intelligible girth.
Breaking Glass Pictures with Dark Rift Films in association with High Octane Pictures release “The Creature Below” onto DVD. The 16:9 widescreen presentation of this sci-fi horror thriller explores a sleek and clean, with a hint of being just a little hazy, picture that puts forth the appropriate dark grey and blue tone for an underwater or above water creature feature. The English Dolby 5.1 sound’s slightly muffled, but solid. Special features include a behind-the-scenes, deleted scenes, “Rats” a short film, and a Frightfest Q&A. Stewart Sparke’s “The Creature Below” is not perfect and does have appalling, laughable moments, but underneath the surface is a UK film that’s budget-busting bold and aims to be a goliath in an indie market.
Boobs. They are the supreme catalyst toward obtaining professional achievement. They are the driving force behind stabling a lustful relationship. They are the cat’s meow for curbed catcalling. For flat chested Betty, a cavernous cleavage praising society doesn’t show her a lick of titty-twisting respect, being the constant butt of a running joke for her asset-less figure, until she schedules a life altering, boob-enhancing appointment with Dr. Thulu, an uncredited and unlicensed plastic surgeon seeking the perfect, wholesome vessel to host her blood hungry, elder world creatures for planet domination. Betty’s implanted funbags are all but fun when the mammary monstrosities begin devouring hounding perverts when getting handsy with Betty’s girls. The diabolical double Ds slowly take control over Betty’s consciousness and will, eventually, take full mastery, but will true love put a permanent road block toward ruling the world?
Horror-comedy “Killer Rack” is a Lovecraftian inspired schlock film from “Slice City” and it’s sequel, “Slime City Massacre,” director “Greg Lamberson and penned by Paul McGinnis, who also has a co-starring role. The slapstick riot embellishes the real life battle of young women’s self-esteem, the constant struggle with the female physique, and with lots and lots of different levels of sexual harassment to the point where “Killer Rack” is basically becomes a social awareness film. Even though “Killer Rack” is blatantly farcical, the representation of men objectifying women is quite scary and Lamberson and McGinnis hone very meticulously on every facet related from gawking to catcalling and from sleaziness to potential rape. The manufactured, boob-infatuated universe McGinnis and Lamberson create isn’t a far stretch from this one with every single scene so ingrained with breast obsession that’s, as an American, I feel almost ashamed of myself for watching “Killer Rack,” but my European bloodline revels in this type of perverse gratification.
Lamberson, also known for his novel publications stemming from the early 2000s, continues his schlep of low-budget filmmaking over the course of three decades as a producer, writer, and director and the refreshing part of his career is that Lamberson has kept the course, providing fans of undiluted horror trash in a resilient body of work with “Killer Rack” being no exception. The ambitious undertaking stars a fresh faced indie actress Jessica Zwolak in the lead sporting the killer rack and Zwolak nails the intended comedy, pulling off the center of gravity gag numerous times post-implant surgery and being able to effectively switch between conscious Betty and puppet Betty. Surrounding Zwolak are collective years of a indie filmmaking experience that solidify Lamberson’s shtick filmmaking including long time industry leader and co-founder of Troma Entertainment, Lloyd Kaufman, being his great idiosyncratic character onscreen, but the buck doesn’t stop there with a roster of vets. The fiendish Dr. Thulu is embraced by one of the genre’s favorite, hard working indie scream queens Debbie Rochon (“Tromeo & Juliet,” “Dollface”) who submerses herself elbows deep into the film’s H.P. Lovecraft mythology. By far, my personal favorite genre star making a brief cameo was Roy Frumkes, the Jim Muro “Street Trash” businessman who melts away in a glorious death, reliving that well-known death scene once again but sprayed in the face this time with toxic breast milk!
“Killer Rack” nestles snuggly in between the two dirty pillows that are indie pop culture and social undercurrents, but only hardcore fans who follow this particular niche filmmaking will understand and enjoy the special effects puppetry, the outlandish absurdity, and the homage barrage of references. Lamberson and McGinnis’ 2015 horror-comedy was completely made for us, the dedicated fans, and that’s also the downfall as many popcorn cinema goers will become lost and probably offended, especially in this particular modern culture. That’s why we should embrace actresses like Debbie Rochon, Jessica Zwolak, Brooke Lewis, and Brittani Hare for being strong and good-natured actresses for being subjected to culturally deplorable material delivered by the actors, such as by the one-man show that is Michael Thurber (“Sins of Dracula,” “Model Hunger”). The play on words titled film follows a very simple, if not already on some obsolete plane, structure of comedy that’s not necessarily a negative aspect of the film, but rather sets a modest tone for the whole blood thirsty boobies concept.
Akin to Mitchell Lichtenstein’s “Teeth,” the Slaughtered Lamp Productions produced and Camp Motion Pictures home entertainment distributed “Killer Rack” provides a similar feministic horror in a screwball, dystopian world. The unrated DVD presents the film in an anamoprhic widescreen 1.78:1 aspect ratio with image quality that really details the budget. Flesh tones look natural, blacks are fairly solid, and no sign of major aliasing or compression issues. The English 2.0 audio sustains clean and clear quality throughout with forefront dialogue and appropriates ambient and sound effects properly during sequences of Chtulhu inspired bone crunching, blood splattering, and torso piercing. Bonus features are nicely stacked for “Killer Rack,” including a commentary track, deleted scenes, a behind-the-scenes featurette, a bonus short film “Kill the B!tch” and “The Camper,” and trailers. “Killer Rack” fondles around the sexual harassment issues and hilariously denaturalizes, as if implants weren’t already unnatural, with a diabolical pair of creature infested tatas!”