Down in the relationship dumps, Carly and Rina struggle with sustaining the love between them. Carly recently dropped out of medical school to pursue a videography career, Rina, whose a battling bulimic, can’t secure a job, and, together, the financial strain and their respective personal issues is pushing them apart as they indolently work toward a seemingly futile plan for the future in a rundown motel recently purchased by a college friend named Wyatt. As if things can’t get any worse, an infectious pandemic turns the diseased into flesh hungry zombies and has quickly engulfed their area shortly after devouring Europe before anyone knew what hit them. With all communications down and surrounded by the infected, Carly and Rina rely on each other for survival, armed with only a couple of handheld cameras and a knife, but one Rina becomes sick, how far will Carly go to save the love of her life.
Love and zombies. Never has there been a more catalytic experience when the fate of an undead ravaged Earth becomes the tinder box for rekindling affection of a broken relationship. That’s the surmised premise of Michael Souder’s director debut, a found footage horror entitled “By Day’s End,” released onto DVD by the Philadelphian home video distributor, Breaking Glass Pictures. The LGBTQ aware zombie horror is based on Souder’s short marketing preview entitled “Hunger” that involved a man and woman couple rather than two women and was set at a motel site with Souder acting as narrator in explaining his vision. While “Hunger’s” financials didn’t gain footing through crowdfunding, Sounder was able rework his vision that incorporates a different breed of zombie that can learn at a rapid pace, shot his film in 2015, and finally hitting the retail markets in 2020. Sci-Fi-fantasy writer, Justin Calen-Chenn, co-writes the script with Sounder and serves as co-producer with the director along with another co-producer, Alicia Marie Agramonte, in her first feature produced production. Joe Wasem serves as executive producer for this complicated love story in the midst of a zombie Armageddon.
The rocky romance between Carly and Rina land praise for Lyndsey Lantz (“Lore”) and Andrea Nelson (“I Spit On Your Grave: Déjà vu”) in being a convincing complex couple with tons of baggage including relationship singeing secrets from one another and an underlying passion that has grown a little stale from a future strained of financial collapse. The chemistry between the blonde haired Carly and the dark browned Rina sizzles with tension that steams like when hot water hits a freezing cold surface. Lantz provides Carly’s bubbly optimism of a woman in love that finds climbing Rina’s colossally icy barrier a frustrating feat despite an immense amount of devout love and loyalism for her partner. The one character that isn’t very convincing is the former military turned motel host Wyatt Fremont played by Joshua Keller Katz. Katz’s rigid performance falls into the stereotype category of a bad script read, overplaying Wyatt’s previous life with a smug thinning effect on the whole zombie chaos and Wyatt sticking out of place like a giant sore thumb. Rounding out the cast is Diana Castrillion (“Godforsake”), Umberto Celisano (“First House on the Hill”), Devlin Wilder (“Grizzled”) and die-hard horror fixtures Maria Olsen (“Starry Eyes”) and Bill Oberst Jr. (“3 From Hell”) with the latter providing his voice only.
Rina’s unceasing eating disorder has staked a claim as one of the spurs affecting Carly and Rina’s declining relationship and, yet, when another eating disorder where mankind craves the taste of each other, the once quarreling lovers reignite the warmth that was once their bond in an amusing parallel of events. Character analogies are not the only nice touches provided by Souder who tweaks the zombie, extending upon George Romero’s evolutionary concept of a learning and pliant zombie while also creating a big world apocalyptic problem with small world capabilities, with the undead playing possum – how very “Resident Evil.” The 74 minute runtime offers ideal pace to not linger in exposition, which some horror love stories tend to do, balancing the backstory and the instantaneous chaos into a smooth transition of events. The camera POV style renders the same objective with also a bit of tranquility that’s like a calm before the storm rather, as some ambience is muted by security cameras. The effect results a frightening, breath holding silence which is a nice, eerie touch of cinematography and uncluttered audio.
“By Day’s End” is the motel mayhem zombie movie you’ve been hungry for and comes to you on a DVD home video being released March 17 courteously from Breaking Glass Pictures. The DVD9, region 1 release is presented in a widescreen, 1.78:1 aspect ratio, that splices together handheld camera and security cam footage. The image quality respectively shares the diverse filming tactics used to interlace a story. Handheld footage features a bright, natural appeal whereas the security footage purposefully instills as ashen approach and softer, fuzzier details with the horizontal lines created by direct light The English language 2.0 stereo mix has clean and forefront dialogue; the creature gutturals cast a more over-the-top and tawdry vocal disappointment that wasn’t fear invoking. Ambient depth and range are sizable and balanced. Special features include a behind-the-scenes, a quaint blooper reel, and Souder’s short film “Hunger.” “By Day’s End” marks the first indie horror success story of a 2020 release with a delicately modeled blend of romance and horror and a surge of lasting captivation on both of those fronts.
Anna’s a senior at Little Haven high school whose not thinking about what University to attend after she graduates. Instead, Anna focuses on working all the time as a shoe counter girl at the local bowling alley to pay off a year’s worth of traveling despite her father’s wishes, even working through Christmas, but when a sudden zombie apocalypse derails her and the worlds’ plans, Anna’s friends and father are her first priority. With her father trapped at the high school, Anna and her closest friends must trek and battle through a horde of the undead from the bowling alley before striking out dead themselves. Despite social differences and teenage angst, they must dance and sing to put now frivolous juvenile issues aside and work together if to not become one of the living dead.
Timed just right from 2019’s Christmas holiday season is Second Sight Films’s two-disc set of “Anna and the Apocalypse,” a contagiously fun, well performed, and cheekily gory musical comedy-horror by the United Kingdom’s John McPhail directing a script written by Alan McDonald and the late Ryan McHnery, based off McHenry’s short student film “Zombie Musical.” As true to the marketing behind the film, “Anna and the Apocalypse” is certainly the “High School Musical” with teeth-gnashing, putrid-walking, and flesh hungry zombies. The Scottish bred production comes from Blazing Griffin Films, Parkhouse Productions, Constellation Creatives and Creative Scotland to flash mob dance and sing in chorus through the apocalyptic melee while figuring out their complicated adolescent troubles, such as what to do after graduation, turbulent romantic emotions, and being different and alone.
The ensemble cast is heftily made up of unknown talent beginning with, then 17 year old, Ella Hunt in her debut lead performance as the titular character. Hunt’s a fresh, young face with an astonishing amount of acting range with Anna whose defiant against the wishes of her father, but, deep down inside, still wholeheartedly cares for him as he’s her only parent left alive, and Hunt has natural poppin’ dance moves and pop-star vocals. In Anna’s core group of friends, Sarah Swire’s Steph North stands amongst them as the LGBTQ representative whose strongly portrayed as courageous, caring, and independent while her characterization at the beginning of the films focuses on downing her life to the pit of despair with parents, who Steph claims wants nothing to do with her, are on holiday in Mexico and her romantic partner won’t be spending the holiday with her. Swire’s choreographic and musician background, along with an edgy look, make her a perfect fit for Steph. There’s also Anna’s best friend, a boy named John, played by Malcolm Cummings in his first feature film. Cummings has to be the hapless friend zone boy that remains sidelined when trying to find the opportune time in expressing his true feelings for Anna, but finds himself the third wheel in a high school love triangle conscripted with Nick, a hot-to-trot prick and bully colorfully depicted by Ben Wiggins. Christopher Leveaux and Marli Siu are the gang’s love birds, Mark Benton is Anna’s custodian father, and “Game of Thrones'” Paul Kaye antagonizes with a power hungry assistant headmaster gone crazy!
Honesty, I wasn’t sure how “Anna and the Apocalypse” was going to work, or be successful, or be entertaining at all as a horror movie. Horror-musicals are a rare breed that come with a mind-boggling quantitative algorithm to make them truly work wonders and, somehow, John McPhail dusted off his abacus, powered up his TI calculator, and put note to pen to paper and delivered a holiday spectacular on a horror scale stage. The horror, though very prominent and unmistakable, takes a backseat to the powerful soundtrack by the ensemble cast, ranging from caricatured with Fish Wrap to the desolation of personal connectivity with Human Voice to a couple of Christmas satires to bring a little joy with the merry mayhem. The mayhem is absolute with all the trimmings of a zombie apocalypse, even right down to the military being the butt of a joke when they’re overrun by a slow-moving force, but while there’s some gore early on with a dead head decapitated by a see-saw and a pair of bowling balls pop the top of one alleyway corpse, the blood flows downward to a little more than a dribble and “Anna and the Apocalypse” cobbles together a mere mediocre zombie film from then on out.
Already seen a couple of standard releases from other distributors, Second Sight Films reserved “Anna and the Apocalypse” to the royal treatment with a special features heavy region B, two-disc Blu-ray set containing two versions of the film – the theatrical release cut and the extended version which will include a musical number that didn’t make the theatrical cut. The Arri Alexa SXT shot film is presented in 1080p and in the film’s original aspect ratio, a widescreen 2.37:1, with a featured ProRes 3.2k format that allows upscaling to UHD quality providing a high resolution output that’s clean and bright. The color palate has real vibrancy under the director of photography’s, Sara Deane, direction to use colorful outfits and neoned and darkened sets. Some scenes become a little choppy with some sloppy editing work, but as a whole, the story remains coherent. The English language DTS-HD Master Audio 5.1 vivaciously energizes the soundtrack with alternative pop numbers, harmonious melodies, and a synchronized chorus, but there are times the dialogue falls into a lossy grey area. A stereo 2.0 track is also available as well as optional English SDH subtitles. The Second Sights Films’ release is chock full of extras with disc one including an audio commentary with director John McPhail, writer Alan McDonald, composers Roddy Hart and Tommy Reilly, a behind-the-scenes featurette, an alternate opening scene, a deleted song “What Side Are You On?”, a deleted bathroom scene, the Hollywood Ending cast and crew lip dub, footage from the EdinBurgh Film Festival, and, of course outtakes. Disc two includes a brand new feature-length documentary with new interviews by the actors and filmmakers. Plus, the original short film – “Zombie Musical.” A definite definitive two-disc set from Second Sight Films goes hand-in-hand with “Anna and the Apocalypse’s” feel good charm and unruly undead charisma complete with catchy tunes and bloody zombie goons in a modern day holiday cult classic.
In the year 2022, orbital satellites carry nuclear missiles and maintain flight patterns around the moon. When a satellite repair ship, known as a “refab” ship called Spaecore 1, attempts to intercept a satellite for maintenance, the system wide computer goes into an unexplained power failure that jeopardizes communications, life support, and navigation. Drifting helpless toward sector Centrus B-40, the dark side of the moon, all hope will be lost within 24 hours unless operations can be restored, but a mysterious spacecraft, NASA’s Discovery shuttle, heads toward them and docks onto their outer hull without so much of a hail from the shuttle. Captain Flynn and Lt. Giles investigate a seemingly abandoned ship until coming across a dead body of a presumed missing NASA astronaut, eviscerated with an opening left in a perfect triangle as the cause of death, and that opens the door to more questions than answer as a sinister presence boards their ship, pursuing damnation for their souls.
Just think, in two more years, weapons of mass destruction satellites will loom just above fluffy white clouds, ready to mushroom clouds out of targets with a 10-ton yield; at least that’s what director D.J. Webster and the screenwriters, identical twins Carey W. Hayes and Chad Hayes, modeled the future when conjuring up this delectable Sci-Fi horror film approx. 20 years ago. With special effects models and techniques that withstand against powerhouse space films, such as from the immaculate effects of Alien franchise, “The Dark Side of the Moon” becomes more than just a 1973 Pink Floyd album title Fabricated out of warped creativity of old and new concepts with a Biblical horror base that only the 1990’s could loosely spin into an hour and 27 minute feature, for many of the filmmakers involved, “The Dark Side of the Moon” credits as their first taste of a feature length, large scale production, especially with the mainly music video director D.J. Webster, who loves his closeups, and director of photography Russ T. Alsobrook, as they auto clicks into a team that seemingly have experience of seasoned veterans or, perhaps, spent some secretive, unlogged time in space. Who knows, but the outcome ruminates about the dark side of religion and how each of us deal with it internally.
When mullets and giant framed glasses are afoot, the late 80’s, early 90’s filming era is beyond evident with interestingly gritty characters lined up for an evil figure eager to knock them down and, of course, the story’s lead character is the mullet sporting pilot named Lt. Giles Stewart who is unwittingly thrust into the fast track of a hero’s lane. Giles’s atheism framework has a pleasant sardonicism about it when face-to-face with the immortal conqueror of his ship and crew. Will Bledsoe paints Giles as such as faithless space pilot, bound to duty, and willing to do anything to just not save himself, but others. One of the only recognizable faces, at least for myself, in the cast is John Diehl. The “Stargate” and “The Shield” television actor is best at being a wild card in turmoil situations and as shipmate Phillip Jennings, the same can be expected without being utterly conventional or warrant any kind of typecast label. Another actor to note is Alan Blumenfeld as the ship’s panicky Dr. Dreyfuss Steiner. Blumenfeld, who had a role in the best Jason Voorhees film, in my humble opinion, “Friday the 13th Part VI: Jason Lives, is once again stalked by a larger-than-life villain while maintaining a profusely sweaty persona that’s symbolically intended to be true, unadulterated fear. As a whole, the cast is amazing regardless of some first time filmmakers at the helm, rounding out with “Re-Animator’s” Robert Sampson as the ship’s Capt. Flynn, Joe Turkel from the first “Blade Runner,” “Blood Frenzy’s,” and overall erotic thriller goddess, Wendy MacDonald, stunt man (“Kill Bill Vol. 1 & 2, “Army of Darkness”) Ken Lesco, and another “Friday the 13th” actor, Camilla More, or Tina from “The Final Chapter,” as the stationary sexy, ship’s onboard computer-robot named Lesli – think on the same lines as Mother from “Alien,” but in the flesh.
What makes “The Dark Side of the Moon” very interesting is the film being an unofficial precursor to other science fiction horror films like “Event Horizon” that was released roughly seven years later. Space as this gateway to Hell concept is sorely under-appreciated and underutilized. Space is already vastly frightening to begin with and by adding a devilish abyss aspect to it makes the idea an absorbingly scary thought. What’s also fascinating is the Hayes brother. “The Dark Side of the Moon” is the brothers’ roots film; the proverbial patient zero that spread successful movie writing careers for the twins, spawning turn of the century horror with the remake of “House of Wax” that saw the on-screen death of Paris Hilton, had “Underworld” star Kate Beckinsale track down a killer in Antarctica in “Whiteout,” and they penned “The Conjuring” that constructed its very own universe.
“The Dark Side of the Moon” comes in at #2 on the Unearthed Films’ Classics label distributed MVDVisual. The newly restored 4K transfer of the Wild Street Pictures production is presented in a widescreen, 1.85:1 aspect ratio, region A Blu-ray release. Surprisingly sharp despite consistent low-lit scenes and not as washed like previous VHS versions, this restoration fine tunes the nitty-gritty specifics needed for proper presentation that doesn’t falter from heavy digital noise or blotch artifacts and shows no signs of enhancing The English language LPCM 2.0 audio track is strapping for a dual channel format. Dialogue pronounced clearly, ambient spaceship clinks and clunks create atmospheric range and depth, and the relentless brooding score by “Society’s” Mark Ryder and Phil Davies delivers shuddering spinal-tingles without being monotonously dull. Bonus features include a commentary with executive producer Paul and Unearthed Films’ Stephen Biro, interviews with Alan Blumenfeld, FX artist R. Christopher Biggs, and stuntman Chuck Borden, plus vintage audio track, trailers, photo gallery, and a insert booklet that dives into about the production and the cast. All packed into a nice little slipcover package. “The Dark Side of the Moon” pioneers into the future of space horror as a good ole dread-inducing fear-monger of the great expanse, deserving this Unearthed Films’ release, hands down.
In the midst of a deranged serial killer’s escape from prison, Four Delta Omega sisters enter a school raffle to represent their sorority and end up winning an all expenses paid hotel suite complete with a luxurious hot tub. As student bodies fall in the maniac’s wake, the sisters flight toward fun times before taking notice how many of their friends and fellow students become unfortunate slashed-up victims and just when things are getting wet and carnal, the killer checks in, crashing good times, and making mince meat out of the lucky winners and their boyfriends.
Budget horror filmmaker Chris Greenaway gets his hands into the sisterhood horror genre with his 2016 written and directed tongue-and-cheek horror-comedy “Hot Tub Party Massacre.” Campy. gratuitous. Schlocky. Greenaway has covered all the bases of a satirical slasher sporting a killer wielding a small garden cultivator – “cultivator” is a good title or moniker for another campy slasher as long as you put the proverbial “the” in front of it. Instead, we get the Canadian cult no-so-classic “Hot Tub Party Massacre” because nothing says killer party than an actual killer at your party and here the party is wet and wild with an escaped maniac on the loose, ready to randomly slice and dice the unscrupulous and individualistic sisters of Delta Omega sorority.
While there’s not a sole headliner to Greenaway’s film, like a Jamie Lee Curtis to Laurie Strobe or a Neve Campbell to Scream, the sorority girls attending the bubbly hot tub affair function as a collective headlining mass of alternative women. In alphabetical order, Amanda Nickels, Erin Hyndman, Jynx Vandersteen (“Father’s Day”), and Sarah Foster each represent Delta Omega’s finest in their respective personas as popular, bookworm, party (or slut?), and goth. The quintessential tropes to any routine slasher star as surprisingly benevolent with their upbeat attitudes and gracious acceptance of all kinds of people. When Hyndman’s nerdy Bethany states she probably shouldn’t attend trip, party girl Brandi, aka Vandersteen, counteracts with you’re one of us, a Delta Omega, and only the best become Delta Omegas. Their stalker, the elusive serial killer, is played by Mark Kiazyk trying to do his best Michael Myers impersonation from the chest down, as he’s frequently screened. Kiazyk’s has the look, a face of pure hatred, and I wish that was more prevalent as it’s a face for television. Rounding out the cast are Delta Omega boyfriends Danny Warren and Ken Wright, “Rust’s” Corey Taylor as a school spirited University newscaster, “you’re all doomed” guy Nicholas MacDonald, and the indie scream queen Brinke Stevens making her bit cameo.
“Hot Tub Party Massacre” is essentially one big homage to the enshrined horror flicks and pays it’s respects to, as aforementioned, Halloween with the killer. Also gives a head nod to Friday the 13th Part II in which a couple are jointly impaled in a very similar frame-by-frame sequence. Even one of the official poster concepts is a direct take from “Slumber Party Massacre” and perhaps the Delta Omega is a sign of respect to another Brinke Stevens’ classic, “Die Delta Die!” Greenaway’s “Hot Tub Party Massacre,” by title alone, is not a serious horror film looking to ripoff the foundational slashers, but relishes in a lighthearted satire that begins in a realm of Zuckeresque that loses the visual gag steam at the tail end. The montage of gratuitous nudity of Amanda Nickela, Jynx Vandersteen, and Sarah Foster notch up the “Hot Tub’s” antics in fleshing out the skin craving viewers who can’t get enough of blood and boobs. Awarding this feature as a good film, as a pivotal staple in horror, is an extreme over exaggeration and a poor case of judgement, but consider only chocking “Hot Tub Party Massacre” up to being Chris Greenaway’s ode to the archetype slasher genre.
Ron Bonk and his Sub Rosa Studios, along with MVDVisual, proudly present “Hot Tub Party Massacre” onto DVD that absolutely belongs right in SRS’s arsenal of cheap and outrageous horror. The Full Screen 1.33:1 presentation is what it is, an unmatted sign of low resolution and blotchy, patchy image quality. The 2.0 audio track is a seesaw of fidelity where some aspects of the dialogue are barely audible and then the high pitched shrieks, and their are many shrieks, could pierce ear drums through popping static noise. There wasn’t an expectation of par level video-audio quality, but the due diligence is to publicize, not necessarily criticize, that of the DVD technical contents. The DVD cover is straight out of a photo shoot with a round, thong-cladded booty and long legs very shapely in front of an in ground hot tub. FYI – the hot tub in the movie is above ground and in a hotel. Bonus features include commentary tracks, behind-the-scenes footage (that contains more nudity, by the way), and trailers. Chris Greenaway’s “Hot Tub Party Massacre” has a premise of a short-lived concept that has been run through the kitty-grinder more than once over, but unquestionably is a honoring low-rent tributing spoof of cult classic works that obviously inspired the Canadian horror filmmaker.
Recently released from prison, ex-con Boris reaches out to his former lover, Wendy, to discuss the status of their relationship after her cold feet episode on a robbery job where she drives away the getaway car, leaving him red handed when the cops arrive. Wendy wants more than anything to live a normal, honest life and Boris aims to please her wishes, but needs to pull of one big job to set their future. Fortunately for him, Wendy happens to be the plaything of a wealthy paraplegic who owns a lustrous castle. Boris convinces Wendy to recon the inside, to find where the treasure might lay within the belly of the castle walls, and when the pair of thieves manage to break into the castle’s fortified basement, escaping is inevitable when a deadly game unravels. Trapped inside a chamber of terror, Boris and Wendy must go through a series of enigmatic riddles and deadly traps to move forward toward what they’ve broken into to steal, but when offered a chance to leave the game with their lives intact, will an acceptance to live be decided upon or will Boris and Wendy gamble for greed?
InterVision Picture Corp., has done it again with another stellar resurrection from the VHS video graveyard with the release and distribution of the Canadian gem “Beyond the Seventh Door.” The debut of B.D. Benedikt’s written and directed horror doesn’t display much of the elements associated with the horror genre with the exception of an acute dispersion of thrills and mystery; instead, Benedikt’s film breeds a mutt that commingles fear invoking atmospherics with the intensity of an unflinching, yet undetectable, moral essence that amusingly reestablishes the very Canadian stereotype of being too nice for the North American nation’s own good. The clearly expressed message of greed goes without saying in a plot that involves incurable thieves making life and death choices over materialistic riches despite the consequences that follow if to pursuing the latter. Another theme exposed is that working together will increase your chances to overcomes obstacles as Boris and Wendy mesh their strength and their smarts to solve puzzles and to escape traps before them and on the other end of the spectrum, going at the situation alone doesn’t work out for either one of them. The prominent themes intertwine effortlessly into a modest story that doesn’t become undercut by today’s inherent plot twists or fail to meet captivating interests as the themes are timeless and current as greed never goes out of style proven by the recent Oscar nominations for Ridley Scott’s drama “All the Money in the World.”
The cast quartet requires not one more soul to showpiece this Canadian cult classic. Leading the quaint pack is the Yugoslavian stud Lazar Rockwood and the rumors are true, Rockwood does look like the long time on screen villain Billy Drago, but Rockwood, as Boris, is no hard nose bad guy but along the lines of an anti-hero with his crooked conscious overtop a softer, tender heart for his past life lover Wendy. Bonnie Beck tackles Wendy as a woman pulled by two desires: her feelings for Boris and a normal life without lawlessness. Her more memorable scene consists of her stripping her red, thigh high skirt, exposing the lacy, black garter underneath, and comically trying to plug water spewing holes in order to not drown. Rockwood and Beck’s on screen chemistry doesn’t jive and, to be overly honest, their bond is substantially weak, but to embody and embrace a characterized scorn and torn twosome, the pair share a set ablaze with passion for accomplishment that oddly resembles Richard Chamberlain’s Allan Quartermain’s adventures sans the quirky comedic charm. Rockwood and Beck completely make up about 90 percent of the screen time as Gary Freedman, in his sole credit, dons the mysterious Castle owner and a local Canadian celebrity, a street performer, named Ben Kerr who only had to sit with his eyes open and act a corpse.
Modest as it was, “Beyond the Seventh Door’s” independent production couldn’t rival the end resulting magnitude of which the construction of the trap rooms and the characterization of the score would suggest a bigger wallet project, transforming that aforementioned simple story into a big ticket item. Behind the financial curtain is the responsible parties, the Herceg brothers Frank, Steve, and Tony and along with a fourth producer, Lubomir J. Novotny, Bozidar D. Benedikt gained the trust to pull off a no-budget thriller into a wild brain, catacomb horror that pre-dates the escape room element of “Cube” and Jigsaw’s lethally virtuous games. Now, I wouldn’t say “Beyond the Seventh Door” pioneered the genre, but merely had a minor influenced and sometimes that’s all it takes for inspiration.
Canada’s ambitious exploitation film “Beyond the Seventh Door” is now out for the first time every on DVD courtesy of InterVision Picture Corp., the sui generis distributor of rare independent genre films. Presented in a full screen 1.33:1 aspect ratio, the shot-on-video image quality retains an above VHS level quality with a clearer picture and refined details. BBlotchy moments are still prevalent, especially in long shots of Boris leaving the prison and walks along a cold path to the waterfront, but doesn’t kill the reflective moment. The audio 2.0 mono track has great clarity, range, and depth that showcases some of Lazar’s greatest lines of his hilariously read dialogue, such as “Screw you! You hear me, screw you!” The synthesized soundtrack emanates balanced LFE and range. There’s minor, but inconsequential, hissing during dialogued lines. Bonus features include audio commentary with director B.D. Benedikt, star Lazar Rockwood, and moderated by Paul Corupe of Canuxploitation.com. Also included are interviews with B.D. Benedikt, Lazar Rockwood, and Paul Corupe in a “Beyond Beyond the Seventh Door” segment and a look at Ben Kerr, a Toronto eccentric, in “The King of Cayenne” that delves into Kerr’s street performing life, his run for political office, and his overall love for a cayenne pepper cocktail. “Beyond the Seventh Door” is an anomalous, door-after-door misadventure with eccentric performances and an exceptional plot twist that only B.D. Benedikt could kook up and only Lazar Rockwood could pull off.