A Pair of Evil Jugs Seek to Take Over the World! “Killer Rack” review!

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Boobs. They are the supreme catalyst toward obtaining professional achievement. They are the driving force behind stabling a lustful relationship. They are the cat’s meow for curbed catcalling. For flat chested Betty, a cavernous cleavage praising society doesn’t show her a lick of titty-twisting respect, being the constant butt of a running joke for her asset-less figure, until she schedules a life altering, boob-enhancing appointment with Dr. Thulu, an uncredited and unlicensed plastic surgeon seeking the perfect, wholesome vessel to host her blood hungry, elder world creatures for planet domination. Betty’s implanted funbags are all but fun when the mammary monstrosities begin devouring hounding perverts when getting handsy with Betty’s girls. The diabolical double Ds slowly take control over Betty’s consciousness and will, eventually, take full mastery, but will true love put a permanent road block toward ruling the world?
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Horror-comedy “Killer Rack” is a Lovecraftian inspired schlock film from “Slice City” and it’s sequel, “Slime City Massacre,” director “Greg Lamberson and penned by Paul McGinnis, who also has a co-starring role. The slapstick riot embellishes the real life battle of young women’s self-esteem, the constant struggle with the female physique, and with lots and lots of different levels of sexual harassment to the point where “Killer Rack” is basically becomes a social awareness film. Even though “Killer Rack” is blatantly farcical, the representation of men objectifying women is quite scary and Lamberson and McGinnis hone very meticulously on every facet related from gawking to catcalling and from sleaziness to potential rape. The manufactured, boob-infatuated universe McGinnis and Lamberson create isn’t a far stretch from this one with every single scene so ingrained with breast obsession that’s, as an American, I feel almost ashamed of myself for watching “Killer Rack,” but my European bloodline revels in this type of perverse gratification.
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Lamberson, also known for his novel publications stemming from the early 2000s, continues his schlep of low-budget filmmaking over the course of three decades as a producer, writer, and director and the refreshing part of his career is that Lamberson has kept the course, providing fans of undiluted horror trash in a resilient body of work with “Killer Rack” being no exception. The ambitious undertaking stars a fresh faced indie actress Jessica Zwolak in the lead sporting the killer rack and Zwolak nails the intended comedy, pulling off the center of gravity gag numerous times post-implant surgery and being able to effectively switch between conscious Betty and puppet Betty. Surrounding Zwolak are collective years of a indie filmmaking experience that solidify Lamberson’s shtick filmmaking including long time industry leader and co-founder of Troma Entertainment, Lloyd Kaufman, being his great idiosyncratic character onscreen, but the buck doesn’t stop there with a roster of vets. The fiendish Dr. Thulu is embraced by one of the genre’s favorite, hard working indie scream queens Debbie Rochon (“Tromeo & Juliet,” “Dollface”) who submerses herself elbows deep into the film’s H.P. Lovecraft mythology. By far, my personal favorite genre star making a brief cameo was Roy Frumkes, the Jim Muro “Street Trash” businessman who melts away in a glorious death, reliving that well-known death scene once again but sprayed in the face this time with toxic breast milk!
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“Killer Rack” nestles snuggly in between the two dirty pillows that are indie pop culture and social undercurrents, but only hardcore fans who follow this particular niche filmmaking will understand and enjoy the special effects puppetry, the outlandish absurdity, and the homage barrage of references. Lamberson and McGinnis’ 2015 horror-comedy was completely made for us, the dedicated fans, and that’s also the downfall as many popcorn cinema goers will become lost and probably offended, especially in this particular modern culture. That’s why we should embrace actresses like Debbie Rochon, Jessica Zwolak, Brooke Lewis, and Brittani Hare for being strong and good-natured actresses for being subjected to culturally deplorable material delivered by the actors, such as by the one-man show that is Michael Thurber (“Sins of Dracula,” “Model Hunger”). The play on words titled film follows a very simple, if not already on some obsolete plane, structure of comedy that’s not necessarily a negative aspect of the film, but rather sets a modest tone for the whole blood thirsty boobies concept.
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Akin to Mitchell Lichtenstein’s “Teeth,” the Slaughtered Lamp Productions produced and Camp Motion Pictures home entertainment distributed “Killer Rack” provides a similar feministic horror in a screwball, dystopian world. The unrated DVD presents the film in an anamoprhic widescreen 1.78:1 aspect ratio with image quality that really details the budget. Flesh tones look natural, blacks are fairly solid, and no sign of major aliasing or compression issues. The English 2.0 audio sustains clean and clear quality throughout with forefront dialogue and appropriates ambient and sound effects properly during sequences of Chtulhu inspired bone crunching, blood splattering, and torso piercing. Bonus features are nicely stacked for “Killer Rack,” including a commentary track, deleted scenes, a behind-the-scenes featurette, a bonus short film “Kill the B!tch” and “The Camper,” and trailers. “Killer Rack” fondles around the sexual harassment issues and hilariously denaturalizes, as if implants weren’t already unnatural, with a diabolical pair of creature infested tatas!”

How can you say no to a “Killer Rack!” Buy it here at Amazon.com!

Mountain Hag Gets Evil! “Girl in Woods” review!

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Vividly haunted by the nightmares of her childhood, Grace Walker struggles with recouping from the brutal suicidal death of her father that has plagued her into adulthood.  Her boyfriend Jim plans a romantic getaway for just the two them in the remote region of the Smokey Mountains.  After a horrific accident fatally strikes down Jim, Grace is alone and lost in the thicket without her coping medication and without a basic knowledge of survival skills.  Battling with starvation, unequipped with survival supplies, and besieged with a mental breakdown, Grace combats against her inner and outer demons in order to stay alive.
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Eight years have passed since writer-director Jeremy Benson’s last film, the carnal exploitive “Live Animals,” and the filmmaker comes back strong with the upcoming deeply psychological horror “Girl in Woods.”  While the title seems unoriginally simple, the character Grace is anything but simple; however, primitive is a more suitable description of both title and character in the end.  Benson sets up the character by writing Grace as a woodsy no-nothing on the brink of insanity.  As Grace hikes behind Jim, whose carrying a rifle, she’s complaining about the possible dangers of bears and snakes while attempting to use her pink incased cellphone in a kill signal area to gossip about Jim’s engagement proposal the night before.  Immediately, Benson places an unstable, and the creature of comfort, Grace into panic and peril, the starting line of her laundry list of troubles.  From then on, the director relentlessly pounds Grace with hallucinations set within the Tennessee backwoods, torturing her from the mind with mental deterioration stemmed by hunger and onset psychosis to her body with physical pain from a deep gash wound in her hand.
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And who is this actress to which Benson mercilessly puts through the meat grinder?  Veteran actress Juliet Reeves (“Automaton Transfusion”) fills Grace’s disturbed shoes with a formidable solo performance for much of the duration.  The then 36 year old actress was pregnant with her second child during various filming shoots.  The father of the child is with none other than her co-star, now husband, Jeremy London (“Alien Opponent”) who portrays Jim.  Reeves is able to maintain a convincing lunatic lost in the woods despite the non-liner storyline where dream sequences and, supposedly, flashbacks intercut to build upon Grace’s tragic and unfortunate background.  Reeves commits herself to the stages of psychosis, slowly transforming from a manageable, calm medicated state to severely severing all ties from external reality.  Even when performing with her angel and devil conscious in the form of herself, Reeves doesn’t flinch, fashioning a frightening internal dynamic that’s damn realistic.
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“Girl in Woods” ultimately becomes a collaboration between the subgenres of psychological horror and man versus nature.  Benson’s story explores the possibilities of what might happen if a mental case like Grace is put into a dire predicament and the non-linear narrative simultaneously attempts to display how Grace is destined to be molded.  Interestingly enough as a tidbit of analytical comparisons, “Girl in Woods” marginally parallels with a few popular scenes from the 1987 John McTiernan film “Predator.”  When Mac, played by Bill Duke, chases down the extraterrestrial game hunter, he notes to Carl Weather’s Dillion, whispering, “I see you” toward the cloaked alien, which feels similar to when Grace spots the forest “demon” and chases after it, yelling, “I saw you” over and over.  Other scenes sport the same similar inkling from Grace whittling makeshift weapons to going full blown guerilla attack commando on the “demon,” who oddly enough also makes similar vocal  gutturals like the Predator.
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As far as production value is concerned, “Girl in Woods” has an ambitious approach with a infinitely engulfing forest that lurks like an antagonistic villain and an in-your-face motif of self-inflicted suicides that’s extremely graphic and hard to absorb with the brain-splattering, wrist-slashing overdose potency.  The CGI is kept at a minimum, but have one hell of a nasty bite that spurs the heart to a sudden pounding.  The practical effects reign supreme over CGI and within the confines of a warped mind, the possibilities are endless and Benson exploits the potentials.  Overall, fine performances by the rest of the cast:  Jeremy London, John Still (“Live Animals”), Lee Perkins (Slime City Massacre), and the stunning Charisma Carpenter (“Angel” television series) as Grace’s mother.

Produced by GIW in association with Yield Entertainment and distributed by Candy Factory Films, “Girl in Woods” is an upcoming film you don’t want to skip over.  Jeremy Benson has the talented eye of capture beauty within the horror and has the talented pen to wield craziness on paper.  I’m not at liberty to critique the audio and video quality as I was provided an online screener, but “Girl in Woods” is being released on iTunes, VOD, DirectTV, Cable, Dish, Amazon Instant, Google Play, and Vudu so there are plenty of formats to choose from on June 3rd.