Tag Archives: Rob Zombie

EVIL Watches from the Shadows. “The Lurker” reviewed! (Indican Pictures / Screener)

Posted by Steven Lewis on


A gruesome murder has brought a looming shadow over a high school. However, the shadow is not great enough to thwart the spirits of a group of thespian high school seniors in the throes of their last Shakespearian performances of the year of Romeo and Juliet. Determined to excel, the peer admired Taylor Wilson keeps her college acceptance hopes high on her well-received nightly performances as Juliet, but when a terrible secret involving Taylor begins to circulate through the school body, friendship and enemy ties begin become taut with tension. Simultaneously, those with knowledge of Taylor’s secret are being killed off one-by-one by a deranged killer in a black, long nose masquerade mask.

“The Lurker” is a 2019 American slasher film from the first attempt at horror-director Eric Liberacki, whose legs have been grounded in short film cinematography work over the past 2010 decade with “The Pale Man” being his sole feature length credit. Liberacki’s sophomore directorial is written by the “The Pale Man” screenwriter and short film director, John Lerchen, who’s scribes the slasher version of HBO’s “Big Little Lies” starring hormone-driven and backstabbing high school seniors on a thespian high. “The Lurker” re-imagines the high school dramatics to further dig into taboo subtexts worthy of a Jerry Springer talk show episode and interweaves a non-linear narrative, filled with flashback mystery, due suspicion, and the utmost desire to know what secret Taylor Wilson is being exploited against her preservability. “The Lurker” is a joint venture between John Lerchen’s production company, Forever Safe Productions, and Silva Shots.

One thing, right off the bat, that heedlessly seems erroneous for the story is casting Scout Taylor-Compton in the lead role of Taylor Wilson. And here’s why. From 2007 to 2019, the now 30-year-old actress has played a high school student in Rob Zombie’s remake of “Halloween” and in “The Lurker.” While Taylor-Compton is a natural beauty who seemingly defies all physics of aging and her performance is solid, the once Laurie Strode portraying actress from Long Beach, California emits a now mature glow in life and rehashing another character in a high school slasher is ultimately beneath and behind her. Aside from her counterpart co-star Michael Emery being roughly the same age, the rest of Taylor Wilson’s entourage are in their internship-status, post-college years of the early 20s, including Kali Skatchke, Casey Tutton, Isabel Thompson, Emmaline Skillicorn, and Marissa Banker. Juxtaposing against a young cast, as a sort of out with the old and in with new or to brighten with short strands of genre highlights, is the minor roles and cameos of recognizable faces and film royalty, such as Ari Lehman (“Friday the 13th), Naomi Grossman (“American Horror Story: Asylum”), and, most surprisingly, Domenica Cameron-Scorsese, the daughter of Martin Scorsese, playing Taylor’s mother. The cast rounds out with Charles Johnston, Rikki Lee Travolta, Eddie Huchro, Bruce Spielbauer, Roy Rainey, Josh Morris, and Walter S. Bernard.

“The Lurker” has textbook aspects going for it in the case of an above par production value of fancy editing and set locations, a cache of young and seasoned talented actors, and a story with a twist ending, but that nagging itch gnawing from the back of my skull, slowly inching one molecule at a time, toward the core of my brain informs me that the Liberacki’s slasher misses the intended mark if only by a fingertip attached to a severed pinky. The story tries to sell an alternate version of itself that becomes inane from predictability at the very starting gate and continues trucking an exemplum despite giving away too much, too early. Surrounding the conundrum of calamity building to the potential proverb of shit hitting the fan is a paradigmatic slasher flick with a masked killer murdering toward the technique of a final girl narrative. Yet, “The Lurker’s” kills weren’t terribly flashy and were really met with an uninspired creativity to assist in drawing and sustaining captivation of a ruthless assailant over an abundance the teenage melodramatics, which essentially ran amok. We really shouldn’t have been surprised at the narrative’s untroubled tone because the first kill in the opening scene was inside the school and the school was open the very next day; in today’s day and age, school would have been closed for the rest of the week, if not the rest of the academic year, for bereavement and investigation.

Come down with a serious case of stage fright with “The Lurker” coming to DVD home video and now out on various digital platforms, including renting and buying options on Amazon, distributed by Indican Pictures. The visual and audio review portion for this release will not be covered since a screener copy was provided; however, the DVD will be presented in the original widescreen presentation of an aspect ratio of 2.39:1. With a check disc, there were also no bonus material to review as well as no bonus material before the credits and before or after the credits. John Lerchen and Eric Liberacki’s first crack at full length horror is a win in my book with a complex web streamed of lies, deceits, and snuff, but, with a little fine tuning, “The Lurker” could have sheered to a bigger, better 80 minutes.

Rent or Buy “The Lurker” on Prime Video!!!

EVIL’s a Face-Off to the Death! “Guns Akimbo” reviewed! (Saban Films / Screener)

Posted by Steven Lewis on


Miles, a thirtysomething video game developer, remains stuck in an unfulfilling and lonely existence where being an internet troll gives him his only taste of dominance over those who normally succeed above him in all other life aspects. When he pokes and prods a popular and sadistic underground death match known as Schism, the virally trending sensation sweeping the internet nation comes knocking at his apartment door to officially install him into the next melee bout. With guns crudely surgically bolted to both hands, Miles, whose used to running from just about everything, now has to nut up against Schism’s most prolific killer, Nix, and save his kidnapped ex-girlfriend from the deviants behind the game.

Social commentary runs amok in this grisly balls to the wall, gunplay stimulating action-comedy, “Guns Akimbo,” from the New Zealander, “Deathgasm” writer-director Jason Lei Howden. Trading in doom metal horror for a crass bullet ruckus, Howden barrels down with an on fleek supercharged story like a runaway freight train or a 6,000 round per minute minigun, shredding through a high body count like in a high occupancy round of a first person shooter. Under the production wing of Occupant Entertainment and distributed by Saban Films, who released films such as “The Girl with All the Gifts” and Rob Zombie’s “31” and “3 From Hell”, “Guns Akimbo’s” edgy dystopian air gangling along nerdy humor scraps “Robocop” utilitarian veneer for a fresh coat of millennial trivialities, fleshing out, in a ream of firepower, relevant societal topics and facing their adversarial shades head on in a barrage of blood soaked bullets.

Spearheading “Guns Akimbo” is Daniel Radcliffe, who seemingly continues to distance himself from the world of wizardry of “Harry Potter” and focusing his current career on off-Hollywood and chic films that has gained Radcliffe a cult following alongside his cache of wizards and witches fandom. Feeling content stagnant, Miles lounges comfortably in the power of being a keyboard warrior and Radcliffe leads the non-exuberant charge until pushes comes to guns bolted to my and someone is trying to kill me-shove. Opposite Radcliffe is Samara Weaving as a brashly confident and hard-hitting character of familiar skin that’s similar to her Melanie Cross role in Joe Lynch’s “Mayhem.” Instead of being a mild-mannered woman infected to be a savage, floor-clearing combat artist, Weaving bares no dissuasion embodying another uncaged killer becoming the nitty-gritty, tattooed, and uncouth Nix, hard-nosed with violent tendencies stemmed by the fiery murder of her family. Together, Weaving and Radcliffe make engaging adversaries and friendlies who both end up on working on themselves while working with each other in a do-or-die game. Ned Dennehy plays the creator of Schism and overall bad guy Riktor. The Irish actor, who recently had a role in Nicholas Cage’s “Mandy,” finds himself just as tatted up as Nix, waving a nihilistic-revolutionist banner like its something to be proud of, but despite Dennehy’s best efforts in alleviating his cynical nature with a few sarcastic quips, Riktor comes off as bland and unfulfilled as a story’s aortic villain; instead, I found myself more curious about his fascinating short-lived henchmen played by Mark Rowley as a Zangief Street Fighter doppelganger, Racheal Ofori shelling out with double barrels, and Set Sjöstrand as a gimp mask wearing Fuckface. The international cast rounds out with Natasha Liu Bordizzo (“Hotel Mumbai”), a once in a lifetime hilarious homeless man act by funny man Rhys Darby, Grant Bowler, and Edwin Wright (“Turbo Kid”).

“Guns Akimbo” could have been pulled straight from the crimson flashy illustrated pages of a popular graphic novel and, most definitely, would have worked as one too, soon to come for sure, but as a feature film is concerned, as fun as Howden drapers it with explosions, expletives, and executions, “Guns Akimbo” ultimately shakes at the knees with acute breakneck, 24-hour speed that clocks in at a 95 minute runtime. While that’s the standard runtime of choice for movies, average around 90 to 100 minutes, consequences from flying through backstories (Miles, Schism, Riktor, Nix) in a blink of an eye at the story’s expense to hastily push for gun blazing glory puts all the pressure on the viewer to keep up. The story’s non-linear moments also factor into being an onerous barrier for audiences which are shiplapped together egregiously just for the sake of going against the atypical plot structure design and interspersed with flash backs and wishful thinking near death pipe dreams all jam and crammed packed into the sardine can that is the very eye-candy combat of “Guns Akimbo.” Yet, enough time was mustered for symbolism where Miles finds himself ensnared in the sticky negativity that is the social media sludge, fueled by the sadistic voyeurs enjoying the show in a violence-porn tapestry. From troll to titan, Miles rises as the unlikely gladiator presence in Schism, pushing him toward being a viral sensation from which he can’t escape despite the lack of enthusiasm to anything related to Schism and his skyrocketing social media status. The whole showdown thrusts him into controlling his own life whether he likes it or not, a kick in the ass for a lack of a better phrase, to get him motivated.

Come February 28th, Saban Films’ “Gun Akimbo,” produced by Occupant Films’ Joe Neurauter, Felipe Marino, and New Zealand film producer Tom Hern, will go full blown trigger happy into select theaters, on demand, and on digital. Since this movie is yet to be officially released, is a screener, and doesn’t have a home video release just quite yet, there will be no audio and video critique portion of this review nor were there bonus material. There have been many great dual wielding action heros in our lifetime, including John Weston from “Equilibrium,” Selene from “Underworld,” and even that Counter-Strike terrorist avatar with the option to wield Dual Berettas. Now, we have Miles from “Guns Akimbo,” an immense ball of New Zealand vitality, un-tapered exploitation, and twofold in gun fun.

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There is no EVIL like the Firefly Family! “3 From Hell” reviewed!

Posted by Steven Lewis on


A bullet-riddled shootout with police left Baby Firefly, Otis Driftwood, and Captain Spaulding full lead, but not dead! The trio barely survives despite getting shelled by 20 gunshot wounds a piece and are tried and incarcerated for over a decade in maximum security prisons. After Captain Spaulding’s wears out his welcome on death row and becomes the first one executed, a merciless escape carried out by Otis’ half-brother, Winslow Foxworth Coltrane aka The Midnight Wolf, leaves a trail of blood and violence in their wake up to freeing Baby Firefly who can’t wait to play and unleash her uncontrollable crazy cyanide upon the world. However, there’s only one itsy-bitsy problem – they’re faces are about as dangerous to themselves as they are dangerous to others. The three from hell vamoose to a dumpy Mexico town to start afresh, but little do they know, no place is safe for long.

Over the span of 16 years and 14 years since “The Devil’s Rejects,” shock rock and rockabilly, metal rocker Rob Zombie returns to write and direct the third and highly anticipated sequel film in the Firefly trilogy with “3 From Hell.” The 2019 continuation of the Baby, Otis, and Captain Spaulding rejuvenates interesting in returning hellions that’ll undoubtedly wreak havoc across the midwest plains, splatter some brains, remove some flesh, and, well, you get the gist of their unholy hobbies. “3 From Hell” had to literally dig out these characters from the grave since being shot to shreds at the end of,***spoiler alert***, “The Devil’s Rejects” and Zombie was able to sell Lionsgate and Saban Films on the story divergent from the last film, much like “House of a 1000 Corpses” horror show went straight into exploitation extravaganza with “The Devil’s Rejects.” “3 From Hell” is a whole new animal, an anti-hero’s indulgent fantasy of crime, action, and still barely kickin’ to kick ass through the rampaging blood.

The three in “3 from Hell,” Baby Firefly, Otis Driftwood, and Captain Spaulding, return for one more three amigo misadventure through hell and brimstone and the original cast, respectively include Sheri Moon Zombie, Bill Moseley, and Sid Haig, suit up to be a depraved family once again. Sadly, Sid Haig’s health rapidly deteriorates in the midst of filming, leaving Zombie no other choice other than to write him quickly from the script and introduce a new character, a transgression tyrant to pass the torch to, with Winslow Coltrane played fittingly by “31’s” Richard Brake. As though like never missing a backwoods bumpkin beat, Richard Brake embraces the Midnight Wolf and breaks in the character with such ease and fortitude that the question never arises if the Midnight Wolf should be a part of the sacred Firefly pack. Sheri Moon Zombie steps out of a time machine and right into Baby Firefly, despite being a little aged around the eyes. The quirky and unpredictable Baby doesn’t reinvent the wheel, which should please the fandom, and is a wonderful sadistic mecha with Sheri Moon at the helm. The same can be said about Bill Moseley who, goes without saying, has a unique voice that’s been rebranded as Otis Driftwood. Every other movie, old or new, with Bill Moseley starring, or not starring, will forever be tainted by Otis Driftwood for when Moseley monologues or even just speaking one or two words of dialogue, the spine starts to twinge and tingle, the hairs shoots straight up, and that stepping on your grave feeling of cold desolation swallows you in an instant. The “3 From Hell,” plus Coltrane, face the world with a big knife and lots of guns and those who stand in their way are played by co-stars Danny Trejo (“Machete”), Jeff Daniel Phillips (“31”), Emilio Rivera (“Sons of Anarchy”), Richard Edson (“Super Mario Bros.”), Pancho Molar (“Candy Corn”), Dee Wallace (“Cujo”), Sean Whale (“The People Under the Stairs”), Clint Howard (“Evilspeak”) and Bill Oberst Jr. (“Dis”).

Rob Zombie has mentioned in a behind the scenes featurette that he didn’t want to recapture the magic of the previous Firefly cruelty and the rocker-filmmaker has done that just, straying away from the horror of “House of the 1000 Corpses” and the exploitation vehemence of “The Devil’s Rejects,” which the fans groveled for, and going bravely, or blindly, into crime action with the “3 From Hell” that still’s beholden to Rob Zombie’s hillbilly swank. Rob Zombie risks a new path and also gambling on more of Lionsgate’s capital with showing off more visual effects than in the former films. Bullets tearing through flesh and flying straight toward the camera lend to example of the computer imagery effects that, from a fan’s perspective, dilute Rob Zombie’s adoration for horror who takes less and less chances with this film that not only feels rather ordinary and just another piece of maize in the field, but “3 For Hell” also doesn’t feel to have substance to all the madness. Baby, Otis, and Coltrane go from point-to-point, aimlessly pondering what’s next, and just happen to fall into a barrage of bullets and blood, rather than being the epitome of evil bring vile upon mankind. Just being a Rob Zombie film that resurrects his beloved and beguiling modern iconic characters, “3 From Hell” coopers the longing with a fierce show of violence that opens the door for one more installment.

Lionsgate and Saban Films, along with Spookshow International, proudly presents Rob Zombie’s “3 From Hell” onto a R rated DVD and an unrated, 1080p Blu-ray sheathed inside a slipcover. The two disc, dual format release are both presented in a widescreen, 1.85:1 aspect ratio, and the image is about as sleek as they come with an ARRIRAW formatted 2.8k ARRI camera that shoots 48fps. Zombie reins back on the color palette and hones onto more natural coloring. The details are delineating, as aforesaid with Sheri Moon Zombie’s crows feet. The English language 7.1 Dolby TrueHD audio track is lossless with a crisp dialogue and ambient mix. The range and depth are robust with explosions and gunfire. The release comes with Spanish subtitles and English SDH subtitles. In accompaniment with the 115 runtime, bonus features include To Hell and Back: the Making of 3 From Hell which is a 4-part documentary on the Blu-ray only and both formats include an audio commentary from writer-director Rob Zombie. Also included is a digital copy to instantly stream and download onto personal devices. The horror element might be gone, but the inexplicable chaos surges through death row to desperado Mexico in Rob Zombie’s “# From Hell!”

Own “3 From Hell” on Blu-ray/DVD!

Evil Sows With Others’ Body Fluids! “DIS” review!

Posted by Steven Lewis on


Ariel Konk, A former soldier fleeing from his regrettable past, seeks refuge in an isolate cabin located deep in the forest, adjacent to a lagoon. Struggling to live off the land and coping with loneliness, the soldier marches on, exploring his new, secluded surroundings. His loneliness comes to an end when investigating the ruins of a dilapidating building structure, spotting a masked half naked female and as he pursues her, Ariel witnesses her voluntarily jump from the highest level of the opened air building. Wrought with anguish, Ariel attempts suicide only to be knocked out before he could pull the trigger on his rifle. He wakes up being chained to the wall with a mute, mask figure drugging him and extracting his blood and semen fluids as necessary nutrients for a nearby Mandrake garden. A practice that has been executed many times before Ariel’s arrival.

“DIS” is a bordering arthouse horror film from writer-director Adrian Corona (“Nariz Ioca”). A blend from a horror influenced literary poem and a mythological folkore, Corona crafts a lurid, hyperbolic story that pulls, as Cornoa describes as a prefix of sorts, from Dante Alighieri’s epic journey through hell told in Dante’s Inferno, using the City of Dis that’s described as a lower hell for sinners who’ve committed violent and fraudulent transgressions, and interlocks that inspiration with the archaic lore surrounding the Mandrake plant that involves superstitiously condemning those to hell after reaping the intensely narcotic plant with the human shaped root and that would, also superstitiously, scream when pulled. “DIS” is full of interpretative terror through the 61 minute runtime that’s virtually expressive. Corona provides little dialogue to his script, keeping most of the dialect scribal incased within flashback confines, and let his actors’ raw emotions and visceral eloquence provide the tale that’s peppered with moments of visual shock and cathartic abhorrence.

I’ve said it once and I’ll say it again, Bill Oberst Jr. is one hell of an actor. The upcoming Rob Zombie “3 from Hell” actor has become a prominent staple professional in the indie horror film circuit, tackling the bizarre, the inexplicable, and the most difficult of roles with such vigor and passion that his motivation is seemingly inhuman. Right up there with “Deadly Revisions,” “DIS’ tops or equals being one of the best performances of his career, from the perspective of this reviewers’ cache of Bill Oberst Jr films. There’s quite a bit of difficulty catching up to the man who roughly does, whether as a lead or as support, 10 films a year! As Ariel Konk, Oberst captures the essence of pain and anger that saturates the character’s own personal delirium and hell with his past mistake catching up to his self-battered soul. The faceless figure who opposites Ariel feeds off the ex-soldiers repugnant and guilt-riddled past actions in a seemingly perverse mission that’s actually mandated by the suspected demon’s Mandrake lot. The plants are held in a nursery for engendering creatures, but what kind of creatures exactly? Other demons from the seed of murdered vehement people?
Remaining cast include Peter Gonzales Falcon, “Prison Heat’s” Lori Jo Hendrix, Manuel Dominguez, and Anne Voitsekhova.

The casual viewer will inherently disavow the hour spent watching “DIS” due to a number of reasons, whether it’s Ariel wandering the forest for more than half the film, or dialogue is fairly infrequent, or the chaptered sequence of events don’t perfectly describe just what the hell is going, or, just perhaps, the motif of genital masturbation and mutilation is just too much to stomach. Either way, “DIS’s” traction will slip and only a few are willing to get dirty and push the story forward with open mindedness and artistic appreciation. Speaking of artistic appreciation, Rocco Rodriguez’s cinematography is a character upon itself. The top of a Cofre de Perote volcano in Perote, Veracruz, Mexico during principal photography has breathtaking visuals that Rodriguez captures exquisitely and becomes a backdrop against the coarse material. Outside is vivid, bright, full of life, but when in the belly of the rundown structure, the manmade confines are claustrophobic and crummy, infernally ablaze for ritual, much to the akin of Dante’s Inferno. Rodriguez, again, depicts lustrous imagery that assists in telling Corona’s nightmarish story and that’s a skill all can recognize.

MVD Visual and Unearthed Films present Adrian Corona’s enigmatic and surreal “DIS” from 1922 Films onto high definition Blu-ray. The region A release is presented in a widescreen, 1.85:1 aspect ratio, and has the near epitome of perfect with, again, Rocco Rodriguez stunning photography. The lighting really comes to the fold that upheaves the brilliancy in the textures, such as in the building’s illustrious graffiti, and dares to switch to black and white when appropriate. Skin tones are fresh looking and natural in colored scenes. Only a minor aliasing issue around Obsert flared up momentarily, but ceased going forward. The Dolby Digital 5.1 surround sound has forefront dialogue, but not a bit soft, especially with Peter Gonzales, that made following difficult. There was not enough examples of range or depth to necessarily comment as Oberst was essentially alone for much of the film. Bonus features include an explanation introduction by writer-director Adrian Corona, a behind-the-scenes featurette that exhibits three takes of two scenes, a wonky static menu Q&A formatted interview with Bill Oberst Jr., a short film entitled “Portrait,” still gallery, and Unearthed Films trailers. Bill Oberst Jr. is, basically, a one man show knitted into an Adrian Corona allegory of unknown terror through conduits of literary works and medieval folklore, making “DIS” prime real estate for viewers seeking a film as an open book toward abstract gardening.

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Evil Surgical Nightmares…on Repeat! “Inoperable” review!

Posted by Steven Lewis on


From being stuck in stand still Floridian hurricane traffic to waking up in a hospital without any recollection of how she got there, Amy Barrett finds herself in a seemingly evacuated sanitarium on the verge of being hit by a category 5 hurricane. When she finally makes contact with the limited hospital staff, Amy discovers that the staff are not in the position to help, but desire to perform unnecessary surgeries. Then, she finds herself in traffic again. Then, she wakes up in hospital…again. Amy, and other patients, find themselves trapped in a nightmare loop forged by the powers of the massive hurricane. Before the storm passes over, Amy must find a way to end the corkscrew of timelines that propel her limbo hell or else she will be trapped in the hospital forever.

To the O.R. stat! From writer-director Christopher Lawrence Chapman comes “Inoperable,” the horror equivalent to Bill Murray’s exceptional dark comedy “Groundhog Day.” As Chapman’s sophomore directorial, first in the realm of horror, the director takes “Inoperable” to rebrand the quantum paradoxical plight by introducing a medical butchers with hours upon hours, days upon days, years upon years of experience with exploratory surgery and ghastly invasion procedures. Behind the wormhole of terror script with Chapman is co-writer, the b-horror screenwriter, Jeff Miller whose extensive credits include “Axe Giant: The Wrath of Paul Bunyan” and “Jolly Roger: Massacre at Cutter’s Cove.” In this go-around, Miller explores the space-time-continuum, or does he, with Amy reliving the same moment, experienced slightly differently, in an endless loop of grisliness.

Starring in “Inoperable” is the “Halloween’s” franchise third favorite star, behind Jamie Lee Curtis and Donald Pleseance, being Danielle Harris (“Halloween 4,” “Halloween 5,” and Rob Zombie’s “Halloween” remakes). Harris keeps and maintains the tension, supplementing an increasing annoying and frustrating tone with each and every reset, and does superbly in extended takes running through the hospital’s dark corridors. Amy’s center storied character really puts Harris to work on her ability to flex in sequentially illogical scenes that go in various tangents and come to a dead halt in the end, flipping the script that forces the modern day scream queen to relive some of those killer “Halloween” moments. Harris is accompanied by Katie Keene and Jeff Denton, both whom worked with Chapman previously on the clownsploitation slasher “ClownTown.” Keene and Denton’s characters are also caught up in the same situation as a Denton plays a beefy good looking cop named Ryan who brings in a witness, Keene’s JenArdsen, a dolled up blonde who while in his custody, to the hospital following a multi-vehicle pile up; the very exact incident Amy in which Amy was involved. The two fall for each other more and more with each and every restart and that pain coldly passes over when to bare witness to each other’s demise over and over again is disturbingly twisted. Rounding out the cast is Chris Hahn “Axe Giant: The Wrath of Paul Bunyan”), Cher Hubsher (“The Amityville Terror”), Michelle Marin (“Bloody 27”), Philip Schene, and Crystal Cordero.

The trio of resetters formulate a wildly speculated theory that a nearby military compound, experimenting in spatial physics, was ravaged by the hurricane that oozed out their experiments that disrupted timelines, affecting this particular hospital, and the only way to escape the madness is by displacing the same energy that was put into it; so for example, since Ryan and JenArdsen arrived together, they would have to escape together. As long as Amy doesn’t die, every trapped soul is eligible for escape. Wait, what? Like aforementioned, Amy is the centerpiece to the puzzle and the whole entire situation actually revolves around Amy, intentional or not. Even though clues try to put a monkey wrench in that notion, the story always seems to revert back to Amy much like the loop she’s caught in. That in itself is the biggest hint of all that funnels to a underwhelming ending in null and voids the rest of the story.

ITN Distribution presents “Inoperable” onto DVD and VOD. The DVD is presented in a widescreen to “preserve the aspect ratio of its original exhibition” and, yes, this was done so. Nothing too particularly to note about the image quality being a modern release, but the color palette is balanced and vivid. The English language 5.1 Dolby Digital track has some good range and clear dialogue that effective communicate all theories and explanations on why this is happen to Amy, Ryan, and JenArdsen. Extras are slim that include a cast and crew commentary and the theatrical trailer. The Zorya Films and Millman Productions’ “Inoperable” is open heart surgery gory and is unique in a deadfall environment that’s sublimely refreshing for the over saturated genre, but culminates flaccidly with a conventional finale too predictable for comfort.