Evil Doesn’t Care for pH Levels! “Hot Tub Party Massacre” Review!

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.

Get wet with “Hot Tub Party Massacre!”

Another Door, Another Evil! “Beyond the Seventh Door” review!

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.

Own a copy of “Beyond the Seventh Door” today!

Dark Universe Resurrects an Ancient Evil! “The Mummy” (2017) review!

Entombed under the volatile sands of what’s now the Iraqi dessert, an ancient Egyptian princess Ahmanet, who made a pact with an evil God named Set, lies and waits for more than 500 years to rise again and fulfill a destined promise to birth hell on Earth and rule the world. Ahmanet resurrects after being mistakenly unearthed by loose cannon treasure seeker Nick Morton and curses a reign of archaic terror over Nick and all of modern day London in search for a gem cladded dagger to make good on her pact. With the help of a well-funded secret organization called Prodigium ran by mysterious physician Dr. Henry Jekyll, and skillful researcher Jenny Halsey, the cursed Nick will need all the help he can muster to save himself and humanity from a mummified, hellbent she-devil.

Alex Kurtzman’s “The Mummy” is the gateway reboot that’ll give life once again to Universal’s classic monsters and place them in Universal’s newly established realm known as Dark Universe, think what Marvel accomplished with Marvel Comic Universe but with monsters. The kickoff action-horror has the delectable adventure wit seen from the Stephen Sommers directed, Brendan Fraiser starred trilogy from 1999 to 2008 while channeling the Boris Karloff mysticism and menace that made a frightening black and white classic. So, how did Kurtzman exactly provide new breath to an ancient, decrepit mummy that’s been redone two times over and has been spun off more ways than wrapped? One major way was to be the inaugural launch of Universal’s Dark Universe that opens the door for other classic monsters such as Frankenstein, Dracula, and The Creature from the Black Lagoon. In fact, Dr. Jekyll and Mr. Hyde makes a brief appearance as the head of the Prodigium, the ringmaster that’ll be the epicenter connecting creatures together. In another aspect, Kurtzman isn’t afraid to use practical effects, such as Ahamanet’s mummy minions, while also lighting up the screen with some brutal thrilling moments, such as murdering a baby and killing pilots with a murder of crows, that clearly separates the 2017 film from it’s 1999 predecessor, but watch for the quick scene easter egg that pays homage to the Fraiser film.

Upon first hearing Tom Cruise would star in a reboot of “The Mummy,” a long moment of hesitation washed over like a cold wet blanket as the “Mission Impossible” star hadn’t tackled a horror film since the adaptation of Anne Rice’s 1994 Lestat film “Interview with the Vampire” during a time when Cruise bathed in dramatic thrillers and added quite a bit of finesse to his characters. However, with every passing year, Cruise becomes more and more involved with not only his love for acting, but sides heavily with the unquenchable need to a part of action films and “The Mummy” promised to display his enthusiasm for accomplishing his own rigorous stunt work and the script provided the heart-throbbing intensity that’ll sure to awe audiences. Cruise’s performance as a shoot first, ask questions later Nick Morton snugly fits the razor sharp mold the megastar has equipped himself ever since the first “Mission Possible” film over two decades ago, but as a selfish knucklehead, Cruise short sells the charm with a flat expressive tone and doesn’t progress his shell of Nick Morton to a enlightened savior battling for the fate of humankind. Yes, there are other actors in “The Mummy” other than Cruise. Russell Crowe fills the mighty big shoes of Dr. Jekyll and Mr. Hyde, splitting his personalities into two and fulfilling both characters to the very epitome they’ve been classically scribed. Love interest Annabelle Wallis (who was also in John Leonetti’s “Annabelle”) sparked little-to-no chemistry with a overpowering Cruise and she felt rather like a Robin sidekick in a Joel Schumacher Batman film, but Wallis did a fine job as a historical researcher with a lifelong goal of discovering ancient artifacts. Algerian actress Sofia Boutella as the titular character was almost non-existent until the filmmakers had to scramble to redesign the villain due to similarities in another film, but the dark features of Boutella and her elegant performance made Ahmanet lustfully scary with dual irises and body-riddled tattoos, like a wild animal with deep blue eyes, and she sinks into Ahmanet’s malevolent soul and embraces the darkness that is the mummy. Jake Johnson (“Jurassic World”), Courtney B. Vance (“The Last Supper”), and Marwan Kenzari, who will star in Guy Ritchie’s upcoming “Aladdin” film, costar.

Now while “The Mummy” is overly successful and generally positive, an itch of amiss pains a slimly slithering way nearly through the entire runtime. Perhaps because the premise involving a mummy sets itself more in the dank and dark allies of London rather than in the hot Egyptian sands where thirst, heat, and isolation provide a slew of dangerous possibilities. During multiple scenes, a looming sensation that Jack the Ripper would pop out with blade in hand ready to strike at Jenny Halsey’s non-prostitute neck, but like a good adventure film, the story’s progression goes through numerous UK hotspots such as the Natural History Museum and tries to blow up London with every Mummy superpower. Ahmanet compounded concerns about her powers such as the introductory prologue of her characters, told in flashback scenes, where after she obtains all this evil power, the princess is easily taken down by Egyptian guards with blow darts and spears. You figured a Demigod like Ahmanet would be able to summon creatures to her aid, mold the sands of Egypt to free her, or resurrect other Egyptian dead, but none-the-less she was mummified alive and buried thousands of miles away under a giant crypt.

“The Mummy” is a win for the first of many Universal reboots under the Dark Universe label. The September 12th release of the 2-disc Blu-ray/DVD combo set, with also a digital copy, clocks in at a hour and 50 minutes and is presented in 1080p High Definition 2.40:1 aspect ratio with no flaws in the image, quality is crisp, and the coloring is naturally lively. The digital effects don’t exhibit an amateur hour complexion that was more attuned to the 1999 film, a different time two decades ago. The Dolby ATMOS is booming with LFE action that reverberates nicely with every nail-biting mummy scenes; certainly balanced with the surround sound. The dialogue is coarse at times during these intense sequences but overly prominent and clear for the most part. Extras on the release are about as monumental as the antagonist with deleted and extended scenes, Cruise and Kurtzman: a conversation, Rooted in Reality – a behind-the-scenes look at the making of “The Mummy,” Life in Zero-G: Creating the Plane Crash, Meet Ahmanet – the stark villain, Cruse in Action – a segment involving Cruise’s action in the film, Becoming Jekyll and Hyde, Choreographed Chaos, Nick Morton: In Search of a Soul, a graphic novel about Ahmanet, and featured commentary. “The Mummy” is all Cruise, all the time, but lives and breathes like a true Universal classic monster movie in modern day, providing superb visuals, an engrossing storyline, and delivers an action-topping-action ferocity. A whole new line of respect must be bestowed upon star Tom Cruise for his insane work ethic and his dedication to any project, especially a one half horror film that redesigns the gender of the iconic villain while maintaining the values of the original.

Pre-Order your Copy of “The Mummy” starring Tom Cruise right here!

Get Jacked! Get Evil! “Bloody Muscle Body Builder In Hell” review!

Living free from job responsibilities and able to workout whenever he wants, body builder Naoto is living the high life. His daily workout is interrupted by his former photojournalist ex-girlfriend in search of the next haunted house for her latest article and she calls Naoto to inquire his father’s old, creepy home that’s now in Naoto’s possession. Accompanied by a professional psychic, the three conduct a house call to get a presence reading and take pictures of the rundown, abandoned home. They find themselves trapped inside with Naoto’s father’s darkest secret malevolently toying with them and holding them hostage with her cursed power bestowed upon her death, 30 years ago, forsaken to her by the hands of Naoto’s fahter.

In 2014, first time director Shinichi Fukazawa’s endearment for Sam Raimi’s “The Evil Dead” has encouraged the filmmaker to tribute a film that has dubbed “The Japanese Evil Dead.” With all the depictions of Raimi’s film, including from a shotgun, an axe, and even a severed sarcastic-spewing mangled demon head, “Bloody Muscle Body Builder in Hell” views just as good as the sounds. Taking his film to the next level by going back in a time warp, Fukazawa de-amplifies the image quality with a lo-fi flare that adds chaotic charm bathed in retro-VHS vision as every desaturated hue and blanket of coarse grain is a step back in time. Fukazawa implements his own sturdy brand of macabre to branch his version of “The Evil Dead.” For instance, Fukazawa removes the Necronomicon, the book of the dead, all together. Instead, the director doesn’t forth put an outright explanation behind the cause of the cursed’s murderous revenge other than holding a jealous grudge and the lack of motivation is okay because “Bloody Muscle Body Builder in Hell” is a modern day video nasty.

Shinichi Fukazawa, himself, stars as Naoto, suffering every ding, boink, and bop as our hapless hero that’s aims to strike similarities to Ashley “Ash” Williams and his gift of being the king of Three Stooges foolishness. Fukazawa plays a more conservative character in comparison, but does manage spit out memorable one-liners made genre famous by Bruce Campbell, like “groovy.” THe lead actress, Asako Nosaka, holds her own as a lovely damsel in distress who can double on a dime as a Mike Tyson speed bag puncher. The trapped pair make a convincingly distressed protagonists, especially in such a small Japanese home that’s the equivalent to a cabin in the woods. Last on the roster is Masaaki Kai filling in the psychic’s shoes and conjures an performance that’s could fit right in with the Kandarian Cheryl, Scott, Linda, and Shelley demons.

“Bloody Muscle Body Builder in Hell” is a 2014 effects driven, blood hungry roller coaster of pure mayhem entertainment. The ingeniously creative special effects, on a shoe string budget, are made of eye-popping, skull-crushing, and limb-parting goodness that every horror fan can appreciate and love. The lo-fi cinema and melancholy horror fixes to not impress those who have a taste for the CGI eye candy and won’t knock your socks off with the latest and greatest technological, animated advances in effects that attempts to mock real life, but accomplishes the opposite in the fabricated grindhouse reel with overexposures and rough edges that are more fitting for the subject matter. Fukazawa does embody Raimi’s creative editing and angle vision that makes Fukazawa’s film feel very attached to “The Evil Dead” franchise.

The well-meshed video nasty mingles Japanese culture with a loving tribute to Raimi’s “The Evil Dead” franchise and kicks off Shinichi Fukazawa’s most interesting silver screen career. Terracotta Distribution’s “Bloody Muscle Body Builder in Hell” is a tightly packed 62-minute joyride with squirrelly, demented demons with heavy emphasis on the blood and the gore. Image quality is poor and that’s a good thing! The low-tech fullscreen and unrefined quality are a tall-tell sign of a SOV gruesomeness surrounded by a fuzzy Japanese dual channel stereo. Extras includes a Graham Humprey time lapsed video of him creating his DVD artwork, a behind-the-scenes gallery, a dismemberment of scene clips, and Japanese and Terracotta trailers bringing up the tail end. “Bloody Muscle Body Builder in Hell” packs a punch, delivers the death, and gorges itself in the gore in this UK DVD from Terracotta Distribution! and is a lovely blend of comedy, horror, and praise that’s powerfully short and sweet from a freshman director who aims to make a statement while giving appreciation in his own culturally established way.

Evil Review: Little Nightmares


Developer: Trasier Studios

Publisher: Bandai Namco Entertainment

Platforms: Xbox One, Playstation 4, PC

Imagine taking Tim Burton and the video game Limbo and just mashing them together. You got yourself a little gem called ”Little Nightmares”. I remember back in 2014 seeing gameplay videos of ”Little Nightmares” and never heard anything after that. The project was originally called ”Hunger” and it was quiet for few years until late 2016, when Bandai Namco announced they were the publishers. After following the game a little bit more I started to get really interested in it. So interested that I even bought the collectors edition on the day it came out. After finishing my first playthrough, I’d like to go into how this little horror game became one of my favorite games of the year.

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In ”Little Nightmares” you play as a nine-year-old girl named Six, who must journey through a dark and mysterious prison known as the ”Maw”. Armed with just a lighter, Six will have to solve puzzles and use her wits to avoid traps and monsters during her escape.

The one thing that I’m sure caught peoples eyes, especially mine is the games visuals. The level backgrounds and character designs are dark and gloomy and look amazing. The entire game looks like it came straight out of a Tim Burton stop-motion movie. The games soundtrack mixed with the graphics makes this one of the most atmospheric games that I have ever played. Hell even if all the puzzle solving and platforming was removed I still would’ve enjoyed it. Just walking through each level admiring the scenery.

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like most horror games today. Most of the gameplay is you hiding and running from enemies. Each level has specific enemies that you will have to hide, run, or sneak past in order to beat the level. Other than that there is also puzzle solving and platforming. I kind of wish there were harder puzzles, pretty much every puzzle you’re faced with is incredibly easy and you can get through the game pretty fast if you just blow through all of them. The game isn’t long at all, on your first playthrough it’ll take you an easy 2 hours, but when you play again and just speed through it, I’m sure you can finish it within an hour or even less.

Now of course not every game is perfect and unfortunately ”Little Nightmares” suffers from a slightly annoying flaw. The controls are a bit finicky and some times they’re not all that responsive. Several times I will be walking over pipes or bridges and Six will just randomly fall off or I’ll try to pick up a key item and Six will just stand there. If you play on PC the controls will be pretty annoying and I highly recommend using a gamepad, since that’s what the game seems to be optimized for. But again this was a slight inconvenience and in no way ruined the game for me.

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”Little Nightmares” is a fantastic game and I am so happy I decided to buy it day one. I enjoyed it from beginning to end. Along with ”Resident Evil 7”, ”Little Nightmares” is going to be right up there with being one of my favorite horror games off all time. It offers an experience that is unique and different from other games and that it should be cherished for it. If you have $20 to spend then I highly recommend you buy this game, it is a must own. I hope in the future, Trasier Studios comes out with a sequel or at least a spiritual successor.

My final score for ”Little Nightmares” is a 9/10