Youtubers EVILlog a Malevolent Presence Inside Their Home! “8ight After” reviewed! (PovertyWorks / Digital Screener)

Vlogging husband and wife, Vince and Deanna, digitally showcase their married life to the world from their vacation travels to exotic coastlines to the day-to-day, mundane tasks that includes home renovations.  When they demolition a wall in order to install a French door in the master bedroom, they discover a mysterious box containing a Portate (carrying) cross hidden within the wall.  Every night since then, Godfearing Deanna has felt a profound presence in the house, experiencing supernatural phenomena, such as grabbing at her feet and possessing her body, almost on a nightly basis, especially 8 minutes after 1:00 AM.  The compilation of footage from Vince and Deanna’s vlog cameras around the house capture the seemingly malevolent events, but Vince, being the ever agnostic skeptic, tries to invalidate any paranormal occurrences, passing them off as more feasibilities explanations.  Yet, the bumps in the night continue to place Deanna in inexplicable danger, forcing Vince to reconsider his position on God in order to save his wife.

CCTV horror has been quiet over the last few years, but 2020 has seen a fair share of the stale, declining genre that’s become more repellant than a draw for audiences; yet these new ventures into CCTV horror have splashed into a Lazarus pool, rejuvenating a slither of lifeforce within genre, with limited theatrical and VOD releases into the volatile cinema market.  Vincent Rocca’s written and directed multi-camera spectral thriller, “8ight After,” is a found footage horror-comedy that is an analogue releasing on the heels of moderate success, following the making-of an active shooter thriller, “Mother of Monsters,” and the hellish hotel imprisonment of souls of “Followed,” another apparitional aghast blending CCTV and handheld footage in a vlog style.  Rocca’s sophomore directorial comes nearly a decade and half after his 2006 feature film debut, a comedy entitled “Kisses and Caroms,” and is produced by Rocca’s less-is-more production company, PovertyWorks Productions, that aims to produce funny and profitable films and shorts on a miniscule budget.  In “8ight After’s” case, the production cost totaled a whopping zero being Rocca’s own actual camera footage of and around his home and the use of handheld’s and phone cameras when out and about. I’m also positive he didn’t pay his wife a dime.

“8ight After” fits right into the PovertyWorks’s comedy portion of its business model, especially with Vincent Rocca in the lead role as a practical joker-goofball of a husband (who really has the vocal projection of the late Bill Paxton), leading the charge of the voyeuristically invasive vlogging lifestyle as well as being a religiously laidback soul with an atheist belief set.  In stark contrast to his convictions is his wife Deanna, played by his real wife Deanna Rocca, who brings a knowledge of faith for a subplot of inner family squabbles about their mixed relationship to God.  When I say “8ight After” is invasive, I mean the film is a truism of invasiveness that not only is a near tell all of Vincent’s life as a videophile and Deanna’s vocation as a zoo vet but also fractures into the story their recorded travel escapades from their VinceRocca Youtube channel show, “Life Doesn’t Suck,” that discusses and logs their destination highlights of various locations from around the world.  The energy from their Youtube channel transcends over into the scenes committed to the necklace narrative with a bout between comedy and horror that peers Vince and Deanna’s religious fervors.  Deanna shoulders more of the in character plights with the subtle, but effective, person plagued by a unremitting presence and has to become possessed, sleepwalk, and look menacing toward her husband when the time is right for the all-seeing camera.  

Compiled like a documentary (or mockumentary?) and presented in a meta format by spinning and weaving the Rocca’s exuberant régime of life and love into an undercurrent of hidden terror, “8ight After” has unique cinematic properties, utilizing his reality television fluff techniques and editing, and tackle themes of family upheaval contentious topics like religion and gun control, to wrap “8ight After” complete on a zilch budget that rides the seams of fact and fiction.  For the most part, “8ight After” tenderly progresses organically with little staged affect as the high school sweethearts play to their most innate strength – 20 years of marital bliss – and chips in sparsely the sarcastic wit of Vince Rocca (did I mention he sounds exactly like Bill Paxton?) through a tech-recorded compiled story that’s well built up initially with convincing acting and strange and spooky incidents that, like most found footage films, point to specifics pieces important to the narrative. There are even a couple of homages to great horror classics like “Jaws” and “Exorcist III.” But then in a turn of sudden events, the revealing climax fizzles like the air wheezing quickly out of an inflated balloon.  The finagled ending stinted completing something uniquely branchlet from the found footage genre and something that had solid momentum and steam of an escalating snowball toward the essence of a presence, but became grounded by the acute conclusion to the matter in such a matter-of-fact fashion that it completely killed the mood, tone, and disposition “8ight After” carried in preponderance.

Become wrapped up in the lives of a pair of vloggers and see them suffer the wrath of a stubborn spirit in “8ight After” that was released October 15th on various digital retailers, including Amazon’s Prime Video. The film is unrated and has a runtime of 97 minutes and has an accompanying English language 5.1 surround sound audio mix with optional English subtitles. There were no bonus material included, but you can live vicariously through Vincent and Deanna’s touristy adventures of swimming with manatees, paddle boarding, and visiting breathtaking waterfalls. Also, you can purchase Vincent Rocca’s journal notes put into paperback, of the same title as the movie and also on Amazon, that goes hand-and-hand with the film; it’s also available as an audiobook. “8ight After” tempers with a well braided blend of found footage comedy and horror from a pair of seasoned Youtubers that then suddenly trails off, leaving us holding the baby in trying to make sense of an nonsensical ending.

Watch “8ight After” on Prime Video!

 

Read or listen to the book on Prime Video!


Take A Magical, Evil Ride on the “Caroushell” review!


Extremely frustrated with the lack of respect from snot nose kids and the monotonous, round-the-loopy-loop that is his life existence, Duke, the carousel unicorn, has finally had enough the moment after a fat kid mounts him for a ride, smacks him like a giddy-up horse, and wiping his snot onto Duke’s glossy wooden eyeballs. The latter being the final straw that broke the unicorn’s back. Duke breaks free from the amusement park ride in search for a better quality of life when he happens to discover that killing makes him feel good, real good. With a newfound purpose, Duke vows to hunt down and end that fat brat, slaughtering anyone and everyone in his path of carnival-esque carnage that leads the unicorn not to water, but to a house party where the kid stuffs his chubby face full of cake and other goodies while his older sister and her friends order pizza and hit hard the alcohol as they discuss a love and hate for a popular kids show, My Tiny Unicorn. When Duke shows up at the front door, his statue-like presence is a big party hit amongst unicorn show fanatics who are unsuspecting of his murderous desires. The only person capable of stopping the mayhem is the amusement park mascot, a jovial warden cowboy named Cowboy Cool with his trusty, evil unicorn stopping six-shooter.

Step right up! Step right up! Behold and be amazed by the stupendous and the downright bonkers horror-comedy, “CarousHELL,” about a killer carousel unicorn from big top maestro, writer-director Steve Rudzinski. The “Everyone Must Die!” filmmaker helms a satirical slasher co-written by Aleen Isley in her first credited treatment. “CarousHELL,” a whimsical play on carousel and hell if you somehow couldn’t figure that out, inexplicably sprints with the inanimate killer concept that visually livens an old “Family Guy” wisecrack about the latest Stephen King novel being about a killer lamp! Instead of a bright bulb shining blood red and using the electrical cord as a noose, Rudzinski and Isley explore the macabre qualities of an inorganic unicorn by extending its cache of weapons beyond the obvious long, pointy horn to also being able to wield a machete without opposable thumbs, sharp shoot with a bow-and-arrow with hooves, and even have the capability to kill with ninja stars despite the sloping shoulder conformation. Impressive…

Rudzinski also co-stars as Joe, a diehard pizza delivery guy and passionate dog lover who is desperately trying to earn money for his ill-stricken four legged friend. Rudzinski, sustaining both roles as a director and a performer, solicitously molding Joe as an oblivious nice guy just looking to do his job and even though he’s a bit of an impatient spaz, Joe’s not the biggest spaz swimming in the character pool. Rudzinski could be considered the lead male in the one of many boisterous roles of “CarousHELL” who certainly manages to get the girl without having to lift an finger. That girl being the self-indulgent Laurie, big sister to the unicorn pissing off brother. With her face glued to her social media phone and being a spoiled brat herself, Laurie has little-to-no attachments to anything: she’s not tied down to one boy, weighs social media clicks heavily in life, and finds disrespect the choice of attitude even toward her pole–strapping stripper of a MILF mother. Pittsburgh, PA born Sé Marie (“Cryptids”) does bitchy well, finding a nice niche to nest in with this harebrained, but light-hearted slasher with bite. Joe and Laurie have excessive personalities, but nothing can top Preston who sets the field bar. The house party co-host starts off as a complete douchebag complete with popped collar and an unquenchable thirst for bare chests and the introduction of Chris Proud really makes a first impression in a truly unbearable, over-the-top role, but believe it or not, Preston is one of the few characters of the film to have what could be construed as an arch storyline. Preston, by the end, transforms into a likable character with penchant expertise for the My Tiny Unicorn universe (a spoof toward Hasboro’s “My Little Pony”) and is the only character to perceive the first hand danger from the infiltrating and evil unicorn from hell. Duke is hands down the best scribed character of the entire film. Voiced by veteran voice actor, Steve Rimpici, Duke can literally stand inanimate and still be a vital part of the story. The versatile Rimpici is like the movie trailer voiceover guy with an uncanny Duke Nukem-type voice who has movie credits including the Dustin Mills’ directed features, “The Puppet Monster Massacre” and “Easter Casket,” as well as stints in video games such as “Red Dead Redemption” and “Mafia III.” The cast rounds out with Sarah Brunner, P.J. Gaynard, Judy H.R. Kirby, Josh Miller (“Amityville” No Escape”), Teague Shaw, Haley Madison (“Haunted House on Sorority Row”), Cindy Fernandez-Nixon, Shawn Shelpman (“Red Christmas”), Corella Waring and Michael Mawhinney.

With a film like “CarousHELL,” killer special effects need to be a must as marketing an inanimate villain will be hard sell. Yeah, “CarousHELL” has catchy dialogue, witty enough banter, and gratuitous and non-gratuitous nudity. There’s even multi-positional sex with the unicorn. Thanks for that searing image Steve Rudzinski and Haley Madison! However, a slasher requires good kill moments and the special effects work by Cody Ruch meets the demand with a brutal that include a beautiful gored unicorn horn kill to the neck, a double impale followed by a goopy string entrails, and an Ronald Lacy melting scene with charring laser eyes! Even with a high body count and delectable moments of insanity at it’s peak, “CarousHELL” will undeniably find a general audience outside the scope of genre fans who will understand the context behind fashioning a unicorn slasher, those who are just easily entertained, and maybe a slither of fans of westerns.

MVDVisual and Wild Eye Releasing delivers the hell raising attraction, “CarousHELL,” onto DVD home video presented region free, unrated, and in widescreen format. The digitally shot video has a pleasing standard of quality. A few moments of brief aliasing but nothing to specifically note that matters. The dual-channel audio was the most disconcerting issue that’s affecting the release. More so with the exaggeration of performances with the screaming and the screeching, the feedback distortion is pesky and jarring. Dialogue is prevalent and forefront, but lacks range and depth and so the verbal tracks tend to blend together. The bonus features are a welcoming site with a commentary track, cast interviews that explain how the film came to fruition and that better explains what the “CarousHELL” they were thinking when creating this fun flick, a few deleted scenes that explain the disappearance of minor characters, bloopers, and Wild Eye Releasing trailers. Just like “JAWS” did with ocean, “CarousHELL” will cause hesitation when deliberating if riding a unicorn will endanger your mortality. “CarousHELL” is fun, campy, and a whole bunch of nonsense that has our full 100% support in the horror community.

Beer, Guns, and A Giant Crocodile! This is One Helluva Evil Ozploitation Film! “Dark Age” review!


In the Australian outback, a prehistoric and ginormous crocodile has surfaced in the wake of mankind’s gentrification of the wilderness land. Between ambushing crocodile poachers and snatching little Aborigine children from off the river shore, the ancient saltwater hunter has become the hunted as park ranger and crocodile preservation expert Steve Harrison has been assigned to kill the beast, but the local Aborigine tribe holds the killer croc sacred, calling it Numunwari, an ancient, spirit carrying crocodile that has embodied the bones and souls of ancestral aborigine. Together, Harrison and local tribe leader Oondabund must find a way to stop the chaos without terminating the Numunwari while combating drunken poachers and a rattled ranger chief looking to abruptly end public fear. With the enthusiastic help of Harrison’s ex-lover, Cathy Pope, the three devise a dangerous plan to sedate the massive croc and transport it to a secluded habitat before death rears it’s ugly head once again.

Arch Nicholson’s “Dark Age” is the Australian “Jaws” equivalent, introducing a massive crocodile that puts the fear of the murky rivers into the hearts of audiences much like a giant great white shark did for the ocean beaches. “Dark Age” is a raging adventure with a delicate undertone about nature fighting back against an aggressive, occupying force called man, especially the white man, who kills without cause, who plagues without consciousness, and whose power instills a reactionary fear to kill. A single, monstrous crocodile embodies and symbolizes the essence of an entire habitat, chomping through flesh and doing a death roll to make known that nothing can stop nature or as “Jurassic Park’s” Dr. Ian Malcolm so eloquently put it, “Life, uh, finds a way.” Nicholson’s film, from the novel of Grahame Webb novel Numunwari, isn’t solely a man versus nature horror despite marketed as one; instead, “Dark Age” unveils more the cruel side of human nature that’s more Machiavellian than nature running its course.

“Wolf Creek” star John Jarrett, who I better know from “The Odd Angry Shot,” stars as the conflicted park ranger and crocodile preservation expert Steve Harrison. Jarrett’s more convincing a maniac outdoors man than a crocodile conversationalist, but the iconic Aussie convinces us all that being in between two opposing sides is no easy task with this willingness to do what’s right on both sides. Nikki Coghill portrays Steve Harrison’s love interest, Cathy Pope, and Coghill is a dominating female lead by, not only being the only prominent female character, but with her striking ability to overpower Jarrett in scenes and with her also very striking beauty that comes to peak in a fleshy sex scene with Jarrett. The second most recognizable face behind Jarrett is aborigine descendant David Gulpilil. Most Stateside filmgoers may recall Gulpilil’s long locks and distinctive facial features from Crocodile Dundee in a ceremonial Aborigine dance alongside Paul Hogan. In “Dark Age,” Gulpilil plays Adjaral, son of Aborigine tribe leader Oondabund played by Burnham Burnham. “The Howling III” actor acts as a spiritual liaison between the crocodile and the white man world and Burnham Burnham’s childlike presence onscreen makes the actor very memorable and likable. Ray Meagher, Max Phipps, Jeff Ashby, Paul Bertram, and Ron Blanchard co-star.

There have been many installments and versions of crocodile leviathans. In fact, in It’s Bloggin’ Evil’s last review, Sion Sono’s Tag, there’s a dream sequence of a giant crocodile gorily snapping down upon a Japanese schoolgirl with blood spraying everywhere. While the scene is graphic, eye-catching, and notable, the croc was a mockery of reality with disproportionate jowl and a flimsy design that’s more cartoonish than substantially factual. Kuddos to the monster effects and long time visual effects artist Roger Cowland for constructing a frightening behemoth of a crocodile. Though slightly stiff in some scenes, Nicholson camera placement exhibits just enough to warrant a shortage of breath whenever the crocodile goes in for the kill or stalks a prey with the round eyes popping just above the water’s surface. This effect is masterfully executed by the late director who didn’t feel the need to be gratuitously gory with the death scenes that are modest, intense, and sheerly practical.

Yet to be on DVD or Blu-ray in the U.S.A., the good blokes over at Umbrella Entertainment release ultra-rare “Dark Age” for the first time hi-definition on Blu-ray as part of Ozploitation Classic series presented in a 1080p widescreen, 16:9 aspect ratio, format. The image looks clean without any noticeable enhancements, distortions or print damage with only some heavy noise in the darker scenes. The Dolby Digital 2.0 audio track is just as perfect with clarity in the dialogue, a pulsating synthesizing score, and fine fidelity and range. No hissing, popping, or any other noise annoyances were detected. Umbrella unleashes a slew of bonus material includes an audio Commentary with Actor John Jarratt and Executive Producer Antony I. Ginnane, a Bicentenary with Bite: Revisiting “Dark Age”, panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood and Sally Christie, and Uncut Not Quite Hollywood Interviews with John Jarratt and Antony I. Ginnane which are tremendously enlightening about the film’s birth and concluding reactions. There’s also a 1986 documentary entitled Living With Crocodiles with Grahame Webb, author of Numunwari, trailers, and an image gallery. Forget “Rogue.” Forge “Lake Placid” Lets even forget “Dinocroc!” Umbrella Entertainment’s “Dark Age” is the ultimate formidable 90-minute action-horror with trembling induced fear and adrenaline produced thrills accompanied inside a hi-definition release packed to the razor sharp teeth with extras.

Evil Roars as a Monster Tsunami! “The Wave” review!

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Local geologist Kristian, of the small lake side town of Geiranger, and his family pack for their start of a new life in the big city where Kristian has offered a new job. But when seemingly insignificant activity in the Åkerneset mountain that surrounds the nestled Geiranger displays on first alert’s monitors, Kristian fears that his beloved town will be washed away by the possibility of an 80ft tsunami created by a mountain landslide. Unable to leave town, Kristian stays one more night; a night in which a landslide occurs, creating a massive Tsunami heading straight for the heart of Geiranger and Kristian only has 10 minutes before impact to alert the town and escape with his family.
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Norwegian’s 2015 natural disaster-thriller “The Wave” aka “Bølgen” is a landslide victory for director Roar Uthaug. “The Wave” funnels disaster into a single locality where as Hollywood tends to doll up and glossy disasters films, Roland Emmerich’s “2012,” Steve Quate’s “Into the Storm,” Brad Petyon’s 2015 “San Andreas” starring Dwayne Johnson just to name a few, that hyper peril the catastrophes into a global event. The focus becomes too spread out and the parlous state is diluted amongst the characters if the catastrophe is affecting everyone in the world. To pinpoint an area or a region isolates the drama and the thrills resulting in more of an impact upon the characters. On a global scale, characters can escape with ease because the space is vast and non-constricting, but in Geiranger (which is also a real place with the same very real threat), a fortress of mountains loom over the town, higher elevation is safe haven, and the possibility of escape is not so easily achievable.
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Academy Award winning The Revenant star Kristoffer Joner plays the heroic lead in Kristian who fights and claws his way through disaster and destruction. Joner isn’t bulky like Dwayne Johnson, but has a more down to earth appeal that’s more appreciated than Hollywood’s grander is better ideal. But like the “San Andreas” conquerer, Kristian is a family man trying to save his wife and two children. Joner’s Kristian reminisces a much older disaster film involving a small town with a Mount St. Helens explosion. “The Wave” story has Kristian with inklings of forthcoming disaster and his fears are put aside in the interest of tourism. The 1997 Roger Donaldson film “Dante’s Peak” compares very similar with Pierce Bronson’s Harry Dolton has the same concerns, but the town leadership ignores the facts and only has dollar signs on the mind. When disaster strikes, both Kristian and Harry stay behind to save whomever they can.
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The cast rounds out with a enormously talented cast in “Dead Snow’s” Ane Dahl Torp, Jonas Hoff Oftebro, and Fridtjov Såheim. Their working dynamics are accomplished by their individual challenges due in part of the threatening tsunami wave and the second half of obstacles that comes post-event to where Kristian and his wife Idun must now stay alive to find each other through a girth of destruction from high elevation to sea level. The script is penned by John Kåre Raake and Harald Rosenløw-Eeg and I praise their storytelling in creating worthy characters and developing the plausible cataclysm on paper.
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The special effects rival the big boisterous effects of Hollywood. The menacing tsunami means business on screen was created under the supervision of Pål Morten Hverven and splayed on the natural blue hue heavy and tone setting cinematography of John Christian Rosenlund. Usually, giant waves in Hollywood just can’t cut that CGI feel. Uthaug’s wave crests with such realism it’s frightening and to experience our characters at the moment of impact makes you never want to go in the water again – forget about giant man-eating sharks, its giant killer waves you have to worry about. Uthaug puts the viewer right in the path of an immense wave, capturing all the fear and intensity and the breathtaking aspects of simulating a dire situation.

Magnolia Entertainment releases the Norwegian disaster flick in Theaters and On Demand. Magnolia courtesy sent me a screener link so I am unable to comment on the video and audio quality. Also, there were no extras included in the screener as it’s solely a feature. “The Wave” washes over Hollywood’s big budgeted calamity films that’s been released over the past decade and will have you holding your breath from start to finish and long after the wave has subsided.

Evil Hides Behind the Eyes of a Giant Crocodile. “The Hatching” review!

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Tim Weber returns to his childhood home in Somerset to take claim over the family business from his father who recently deceased. When Somerset residents start to disappear and severed body parts are discovered, the idyllic and peaceful lands of the small village are stirred, whisking together an agitated hornets’ nest of confusion and trouble. The truth surfaces when two Nile crocodiles reveal themselves, snapping off the heads of ewes and shredding the shriveled bodies of elderly ladies. Hunting parties form and traps are set to snare and kill the semiaquatic predator, but are the crocodiles just a facade for something more nefarious? The crocodiles must be stopped at all cost, but the hidden beneath the very noses of the townsfolk stealths the true danger.

While Lionsgate’s distributed UK film “The Hatching” may sound like a serious creature feature, the Michael Anderson directed 2014 film, shot on the Somerset location, is actually a horror-comedy with tea kettle loads of dry English charm and wit. “The Hatching’s” cheekiness stems from deploring a misconception that it’s actually a creature feature story of two crocodiles lurking prey from the watery ditches of Somerset and does a good job at it. The tension stagnates of something far more sinister about Somerset is quite evident, but doesn’t slap you square in the face until the obvious pivot. Anderson is able to keep the attention on the crocodiles with the help of the story’s preface of young Tim Weber and his mate Baghi stealing two crocodile eggs from a zoological establishment and witnessing their other friend becoming crocodile dinner during the process. Yet, the farce still plays out until act three when the town masks a real threat to their residents.
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To quickly sum up the impression of “The Hatching” is to be frank that if “Jaws” and “An American Werewolf in London” had a crack baby, “The Hatching” would be the epitome of that said crack baby. I had a strong inkling that “The Hatchling” felt too familiar with the John Landis’ iconic and pioneering werewolf comedy of an American backpacker becoming attacked by an English werewolf. That suspicion revealed to be more physically prominent as to learn that director Michael Anderson had worked on “An American Werewolf in London” as a clapper loader, so there may lie some inspiration. Even the townies Russell and Lardy discuss the possibility of werewolves in Somerset responsible for the killings of sheep and maybe even the disappearances and a few shots of the moment eerily donned that retro homage, an oral sign of respect to the Landis movie.
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To get down to the brass tax, “The Hatching” may have the intentions to bite hard like a giant crocodile, but lacks coherency at times, as if time and space were not something considered for the sake of clarity and storytelling. The Nick Squires inaugural script is all over the place with transitions not quite hitting the mark as intended. Characters were also not set up well; point in case with Tim Weber and his employees loathing him for an unknown reason. I get why his uncle Stan despises him, but why Russell and Lardy? The butcher’s boy was the biggest exposition faux pas as his story was nothing more than a brief explanation to catch up on the events at hand.
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“The Hatching” is listed as rated R with violence and gore, accompanied with brief sexuality and drug use. The crocodile gore is modest at best with more of the gore being delivered by way of other means and not by the two beasts. The overall horror related effects weren’t shabby or shoddy as most of it, if not all, were practical effects and, by the grace of God, not computer generated. Granted, scenes of the crocodile out of water were obviously of not a real creature, but still real looking enough to scare the bejesus out of some poor soul. Real enough to parade around the streets of Somerset on a shopping cart, as in one scene with Russell and Lardy.
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Lionsgate presents “The Hatching” DVD in a 1.85:1 widescreen presentation with an English 5.1 Dolby Digital audio mix. The DVD also comes with an digital ultraviolet that can be played on any device. Bonus features include a behind-the-scenes segment entitled “Beneath The Surface of The Hatching” and a trailer gallery. “The Hatching” may not be for everybody; with the dry English comedy and the sub-genre identity complex, the film may even piss off some hardcore horror fanatics, but I firmly believe “The Hatching” has more respect for it’s elder films than it does in itself and that’s the quality most films seem to hone into for a quick stint of popularity.