There’s Not a Big Enough Pipe Cleaner to Exorcise this EVIL! “Drainiac” reviewed!


Julie, troubled by her mother’s suicide one year ago, is forced by her deadbeat dad to accompanying him in cleaning up an old house he purchased for renovation and resale. As he takes off to attend to “important business” at the local watering hole, Julie is stuck alone with the mop and bucket inside a mysterious, rundown house she’s suspicious of being haunted after strange occurrences and horrifying visions transpire during her isolation. Lurking beneath the house and seeping through inside the rusted pipes, a figureless water demon’s presence persists with malicious intentions and things become worse when Julie’s friends check in on her. Drowning in the supernatural seepage amplified by Julie’s trauma, they become trapped on the property that won’t allow them to escape, draining them of hope against a bodiless, hell-bent entity until a certifiable exorcist shows up at the door arrogantly confident of ridding the flood of evil from this house for good.

Back in the year 2000, Brett Piper’s written and directed volatile ghost house feature, “Drainiac,” saw the light of day for the first time on DVD home video. Unfortunately, through the dismal proceedings of post-production funding and a less than enthusiastic distribution company, that version of the film is undercooked and unfinished in the artistic eyes of Piper who worked with a slim budget of $10,000, making every detail crucial and required to flavor the dull taste of anemic financial support. Luckily for the “Queen Crab” director, his collaborations with Shock-O-Rama Cinema, a sublabel to the indie film doting POPCinema, gave the 20+ year indie filmmaker access to digitally remaster to ultimately finish “Drainiac,” leaving the issues with the previous version water under the bridge, water related pun intended. “Drainiac,” believe it or not, has extraordinary relate-ability to today Americans who are frightened from the mistrust of confidence in their local water treatment systems and drainage pipes for the fear of lead poison and other harmful contaminants, which, in these affected citizen’s circumstances, is a “Drainiac” monster of sorts, hidden from sight with an uncertainty of product quality that drips from their faucets and into the bathtubs their kids play in and into their water drinking glasses.

Another amazing aspect of “Drainiac” is the fresh-face, young cast in their humble beginnings that flourished into solid careers and feels absolutely energetic and stimulating to know their roots reach far back to a cellular grindhouse organism becoming their vocation life. Georgia Hatzis debuts as the beleaguered Julie, a resilient survivor of her mother’s suicide with an oil and water dynamic with her estranged live-in father. Maintaining Julie’s sanity while still fronting a stable façade couldn’t be easy, but Hatzis builds upon Julie’s strength and owning the character’s self-doubt. Hatzi extended her career into television, but Julie is her most memorably performance, especially braving bathing full front to be attacked by a drain’s quasi tentacle erotica sequence. Perhaps the most recognizable face in the film co-starring in the film in her mid-teens, Alexandra Boylan is conscripted to be Julie’s best friend, Lisa. Boylan, who went on to have roles in “The Hitchhiker” remake and the invasive thriller “Home Sweet Home” as well as branching out into life behind the camera as a producer and writer, plays consistently a rationally steady bestie that grounds Julie when needed and is the firm leader of their group of friends that also includes a shaky and nearly spineless Jake (Ethan Krasnoo) and a shallow beauty Tayna (Samara Doucette). As the black sheep in the group, perhaps not even a friend at all, was Wade, a hog riding, wisecracking jerk who didn’t have sense of personal space, especially when the rapey urge washes over him. Wade is an abhorrent human being that came to life due in part of Robert Gorden’s performance. Soon to be seen in the television comedy entitled “My Wife Divorced Me Because I’m a Zombie” that is taglined “The Walking Dead Meets Modern Family,” Gorden will make you hate his guts and despise his obnoxious 90’s haircut and wardrobe and the overall package is enjoyably cathartic to have him pitted against a conventional set of friends. Other colorful talent includes roles by Philip Barbour as an exorcist who reassembles the fisherman Gordon from the frozen fish stick packaging, Steven Bornstein as the despicable dad of the year, Todd Poudrier as a melting derelict, “Sgt. Kabukiman N.Y.P.D.’s” Andrew Osbourne as the melting derelict’s friend, and Elizabeth Hurley! No, not the Austin Powers’ Elizabeth Hurley, but an Elizabeth Hurley nonetheless!

“Drainiac” is Brett Piper’s finest work. Copiously laced with assorted practical effects now completed with a coloring touch up and enhancement by Penn State grad colorist Dave Northrop, “Drainiac” is now has a definitive package that includes Piper hyper-psychedelic matte effects, creepily good stop motion clay creatures, and an abundance of well-crafted gag effects to give the drain presence a slimy drain-protuberance without exposing a tangible thing in the pipes. “Drainiac,” in every category, has a vibrant late 80’s, early 90’s epoch authority even though clearly set and stated at the turn of the century and this is partially because of how the film was shot in 16mm, giving the feature a grindhouse texture. Along with the turn of the century, CGI becomes a huge factor no matter the budget of the film as long as portioned appropriately, but Piper sticks with a practical craft which, in a sense, is a large piece of his filmmaking passion and so “Drainiac’s” is the essence of Brett Piper.

Courtesy of POPCinema’s Shock-O-Rama Cinema horror banner comes Brett Piper’s “Drainiac” onto a special edition with a 24 progressive segmented frame, high definition DVD from the original camera negative and presented in a widescreen, 1.78:1 aspect ratio. Having never experienced the original, unfinished cut of the previous release, watching this present cut will forever be seared into my soul as the best possible rendition in the past, present, and future. The 16mm film stock quality has a lot of natural grain upon a semi-washed look over a gradient-lenient color range sanctioned around the natural lighting that then explodes into a varying vividness of hues when the FX-enhanced scenes spark an immense saturation of color schemes…in a good way. No sign of damage to the original print nor any other signs regarding frame or edge enhancing and cropping. The English language 2.o stereo track, with a re-edited mix as part of the remastered package, is free of distortions, prominent dialogue, and a classic chilling piano soundtrack that pays homage to notable horror films before it’s time. The only issue to mention is some synchronization with the dialogue track and the picture seem to be off early on in the presentation where actors move their mouths to vocalize the lines, but nothing comes out. Special features are a little anemic considering the painstaking involvement and time gap in remastering “Drainiac,” but they include an audio commentary by writer-director Brett Piper and a read worthy tidbit of an inner-lining booklet written by commentary moderator, Greg Conley. THe DVD cover art is very snazzy (or snotty-like) similar to of another POPCinema release, Greg Lamberson’s “Slime City.” Reminiscent of “Evil Dead” or even some inklings of early Peter Jackson, Brett Piper has a knack for proving low-budget horror’s misconceptions are nothing more than that, misconceptions, by keenly tinkering to perfection a story that’s made is seemingly funded from a pot of unlimited gold from nifty, traditional effects and a narrative that works wonders on the imagination, keeping you glued to guessing from start to finish.

Special Edition “Drainiac” available on DVD! Click the DVD cover!

Evil Invades Musically Inclined Fetish Nightclub! “Splatter Disco” review!


Kent Chubbs manages a popular fetish nightclub called Den O’Iniquity in a small conservative town and the demanding, ever-present pressure to close his proclaimed “smut” club from the angry puritanical protestors and unethical politicians have Kent on the hair pulling fences about what to exactly do with his beloved club and loyal employees. To make the matters worse, Kent’s father and club owner, Shank Chubbs, is knocking on death’s door with a bad ticker. To make the matters even more worse, the club’s been a remarkable safe haven for those who choose to express their closeted intimate desires in spanking, furry sex, or lube wrestling, but, during the holiday season, the club has had a low hanging dark cloud in a form of a deranged killer whose been destructively rampaging through the club’s most precious employees and enthusiastic patrons. In order to save everything he holds dear, Kent must find a way to keep everything afloat despite the challenges and his ill-advised legal advice from his acid tripping hippie attorney while also tracking down a psychopath.

In 2007, Richard Griffin directed a hybrid film that structured an abled bodied comedy and interjected moments of gruesome horror and fashioned it with elaborate musical numbers and the result was a niche slasher-musical simply known as “Splatter Disco.” We like this film. Actually, we love this film. Not because we enjoy watching and reviewing Richard Griffin films (see “Flesh for the Inferno,” “The Sins of Dracula,” “The Disco Exorcist,” “Frankenstein’s Hungry Dead,” “Future Justice”) and enjoy seeing where his toddler career began, but because “Splatter Disco” embodies the unlikely mixture of oil and water genres, doesn’t take itself seriously, and was whole-heartedly invested in by some of the biggest names in cult cinema as well as some talented actors and actresses you’ve may have never heard of before, but should certainly know.

Ken Foree, Lynn Lowry, and Debbie Rochon. Three big, well-known names that add their own delectable charm into the mix and, also, three big names who have developed a dynamic, who know each other’s styles, and who can still churn new material on the fly like it’s no big deal. Tack on Trent Haaga (“The Ghouls”) and the then new and Richard Griffin regular from that point on, Sarah Nicklin, who both have the favorably b-movie glow and “Splatter Disco” goes to a whole new level. One of the best performances goes to Jason McCormick as Echo, a DJ Qualls lookalike, with a timely comedic toss that provides a unique schtick to keep the character rememberable and McCormick nails the character right on the flat head. Overall, there were no slacking performances; every actor was chin deep getting into their respective roles with the various fetishes, cloak and dagger shades, and violent intentions. Rounding out the cast is Carlos Brum (“Beyond the Dunwich Horror”), William DeCoff (“The Haunting of Alice D”), Robin L. Watkins (“Poultrygeist”), and Brian L. Mullen III (“Pretty Dead Things”).

If you never experienced a Richard Griffin feature, you’ll pleasantly find out very quickly the director goes all out and the Providence, Rhode Island born director has a great 1970’s-1980’s homage style side dished with lots of vibrant colors and the abundance of suspending smoke and you’ll see why we cater to much of his work. The script’s dialogue, co-written by Griffin and producer Ted Marr, also excellently defines and solidifies the quick wit and whimsical nature of the comedy-horror and to make no mistake, this comedy-musical-horror has no shame with perversions, has well edited bloody special effects, and is ultimately a blast of lively cult cinema! “Splatter Disco” is a self-proclaimed first slasher musical of it’s kind; honestly, I couldn’t think of a prior film of it’s kind, but “Splatter Disco” has hit and catchy imitative tunes provided by Tony Milano and performed by Daniel Hildreth that go hand-and-hand with the humbling dance choreography.

MVDVisual, POP Cinema, and Shock-O-Rama re-releases “Splatter Disco” onto a not rated DVD home video with a 16:9 widescreen presentation. Regrettably, I’m sorely disappointed in the video quality that fully suffers from the distorting and blotchy compression artifacts that make night scenes fuzzy and flimsy in defintion. The lossy 2.0 stereo track is par for the course, even with musical pieces and soundtrack overlay, but does provide a little restitution for the image loss. Bonus features are aplenty that include a commentary with director Richard Griffin and star Lynn Lowry, a behind-the-scenes documentary, alternate scenes, and a Shock-O-Rama trailer vault. “Splatter Disco” is an entertaining 87 minute Richard Griffin slasher capsule classic full of degenerate song and dance!