EVIL Suplexes A Group of Campers on the “100 Acres of Hell” reviewed!


Former high profile wrestler Buck Sever finds himself in a world of personal hurt. After a family tragedy and a derailing injury, Sever’s stuck in what’s left of his life with not much reason or motivation to pick himself back up. High school friend Trent Masters organizes a bros weekend on an urban legend infamous game preserve called Foggy Creek for some drinking and hunting, but even his so-called friends exploit his celebrity status to attract women and gain personal benefit. They spot themselves right in the heart of the game preserve said to be notorious for backwoods murders committed in the 1960’s at the hands of local legend Jeb Tucker. Blowing off the mystery shrouding Foggy Creek, the four friends soon find themselves face-to-face with a mask killer with immense strength that equals Sever’s and there’s no stopping his onslaught of spilling weekend warrior blood.

Wrestling is a multi-billion dollar global juggernaut with a fan base like no other and as an industry has seen a steady increase in popularity that spans over decades. The sports iconic wrestlers are idolized by many adoring fans who hold up supportive signage at matches, imitate their trademark finishing moves with friends on makeshift rings, and even sport their merchandise while throwing out their favorite wrestlers’ memorable gestures. The sport has been become so engrained into our culture, movies like Mickey Rourke’s “The Wrestler,” that show the downtrodden life of a has-been wrestler, can be nominated and win major studio awards, such as an Oscar or a Golden Globe, and wrestlers have been seeping into the film industry that’s now at a raging pace where the professional body slammers are some of the highest paid actors, such as the established Dwayne “The Rock” Johnson and John Cena. However, not every wrestler can be a glamourous super-stud in the cinematic universe. That’s the case with “100 Acres of Hell” directed by Hank Leigh Hump and starring 6’8″ Gene Snitsky and Samula “Samu” Anoa’i. Produced and penned by Snitsky, co-written alongside with Ed McKeever (“Bikini Girls Vs.The Surf Wolf”) and Jason Koerner (“Zombie Death Camp”) to enthrall a survival, campsite horror set and shot in the rural backyards of Pennsylvania.

Snitsky, retired from professional wrestling in 2018, turns to acting late in his career with his entry into the indie circuit. He portrays Buck Severs, a gargantuan man in a tragic life slump, whose seems like a harmless, gentle giant with a group of eccentric and callous group of friends that treat him poorly despite their best intentions. Snitsky’s has moments of genuine truth in delivery and body language, especially for crowd performer. Jim Roof plays one of his friends, Bo McKeever, a sordid white liar of a car salesman always looking to score between two legs. I remember Roof from his role as a snuff filmmaker in another film with “100” in the title – “House with 100 Eyes.” Roof’s funny and likable alongside Snitsky, but the other half of the “Bros” weekend pack droll with weak characterizations despite decent performances from Jeff Swanton and Ernest O’Donnell (“Jay and Silent Bob Reboot”). Both their roles fall flat by running out of steam when the potential is at the peak of flowing through their veins and unfortunately fizzle before they can be an pivotal means to an end. Catherine Corcoran (“Terrifier”), Meg Carriero (“Return to Return to Nuke ‘Em High Aka Vol. 2”), Bob Cleary (“Shadows of the Forest”) and Eileen Dietz (“Halloween II” remake) round out of the cast.

“100 Acres of Hell” sounds like a tour de force of forestry fury coupled with two ex-wrestlers and a backwards, backwoods, hillbilly killer without a cause, but that is where the pipe dream ends and an enigmatic reality sets in. The banter between the friends is palatable and, dare I say it, amusing at times and the camping setup, though trope-conventional, is braced with a solid foundation and a good catalytic promise of beer and urban legend to get things moving toward Foggy Creek. Where “100 Acres of Hell” ultimately falters, in a pair of places, is around the second into the third act as characters are quickly whacked from the story like the combat denizens of the second Mortal Kombat film – “Annihilation.” Jeb Tucker literally wipes the floor with the unlucky campers and their guests like an inbred super Shredder. Secondly, Hank Leigh Hump’s directorial debut is coherently challenging, an unbalanced execution, and a character imploding mishap that shapes “100 Acres of Hell’s” latter half into a struggle to comprehension. Hump’s film feels and looks incomplete from this perspective as if the post-production quickly finalize the project with blind haste and willy-nilly attitude.

“100 Acres of Hell” is a Jersey Lights and Screenshot Entertainment production paying homage to the Golden Age of slashers in the 1980’s with a masked killer and a high body count. The home video distributor, Indican Pictures, released the DVD and the digital streaming services this past October. Unfortunately, a screener copy was provided from this review and a full critique of the image and audio quality will not be covered. As far as bonus material, the screener contained a static menu with Indican Pictures’ preview trailers and a chaptered scene selection. Two former WWE wresters battle out of the ring and onto the screen with a retrograde slasher, “100 Acres of Hell,” but can’t pin down a 1-2-3 count for a win. Alternatively, if looking for the summit version of Jeb Tucker’s personal hunting reserve, a digital “100 Acres of Hell” comic from Swampline Comics offers a colorfully pulpy rendition of Tucker’s brutal adventures in slaying and enslaving campers…something the movie could not provide.

Dare to tread of “100 Acres of Hell!”

There’s Evil in Oklahoma! “Meet Me There” review!

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Ada and her boyfriend Calvin love each other tremendously, but Calvin finds difficulty in their intimacy when Ada continues to push him away, as if hurting her, in the middle of intercourse. Her sexual dysfunction puts a strain on their marriage, but Calvin has a plan that he hopes will resolve Ada’s, as well as Calvin’s, intimacy issue. His plan involves travelling to her hometown of Sheol, Oklahoma where much of Ada’s childhood memories seem to have been repressed and might be the root cause of her mental blockage. When they arrive at Sheol, they’re not exactly welcome as the town’s deranged inhabitants have a bible-thumping darkness about them and they don’t agree with Ada’s and Calvin’s lifestyle. When the couple try to escape, the town won’t let them.
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Director Lex Lybrand helms the “Meet Me There” story, written by Brandon Stroud, and Lybrand seems to lose the structure as soon our hero and heroine arrive in the town of Sheol. The film tries to relay underlining messages about sexual dysfunctions, repressed or fragmented memories, suicide, paranoia, and, of course, just plain lethal psychosis. In short, “Meet Me There” attempts to mask the mental repercussions of childhood atrocities with a story about a couple becoming trapped in a town of deadly druids and God-fearing folk. Lybrand didn’t quite pull off the effect I think he was going for and that was creating an overall nightmarish realm without no escape, like a bad dream you’re unable to awake from, and what was missing was smooth segues to keep the glue together for the plot to naturally play out.
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The story’s outer shell might be compromised, but only technically from a director’s chair. The introductory story of two complete strangers meeting at an airport bar, flying in separate passenger seats to Sheol, renting a car together to head to the same destination, and only to blow their brains out in a field at the same instance becomes lost in reason without the backup of exposition. However, the story of how Ada overcomes her sexual dysfunction and her fragmented memories can’t be any clearer and once she realizes and understands her upbringing involving drugged up parents, a creepy Grandfather, and a verbally abusive father, she bangs Calvin in the middle of the field, half naked and without care.
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Lisa Friedrich and Michael Foulk as Ada and Calvin make a mediocre convincing couple. Their tattoos and choice of music, whether created for their characters or in most micro-budget productions the actors just have to bring themselves, labels them as rebellious to which heightens the towns’ scrutiny upon them. Foulk has great timing in his delivery when being comical with Ada, fairing rather naturally for him. Friedrich’s character lumbers a good amount of the film; her spacey attitude leaves nothing to desire and her character becomes dislikeable. I don’t blame Friedrich for a character written too sluggish and poorly for viewing comfort because even when Ada triumphs over her problems, she’s still very out of sorts.
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Ada and Calvin don’t really have a single antagonist pitted against them; basically, the whole town is against them. WWE’s Golddust, aka Dustin Runnels, is one of a many wrestlers who appear in “Meet Me There,” along with other unknown wrestling talents such as Addy Starr, Leva Bates, and Angelus Layne, and is also one of the villains as the town’s preacher. There’s also Ada’s paranoid Aunt who severely disapproves of Ada’s lifestyle choices, the country store bumpkins who wield shotguns, the cloaked orgy-committing druids, and etc. Now, that all might sound enticing, but only the orgy gives a little stimulating thrill to the bone. I would like to know who set fire to Ada and Calvin’s car because the effect is priceless; when Ada and Calvin return to her aunt’s house to flee town, their car is set to inferno and someone on the crew thought that a matchbox car with blazing flames through the windows and being shot up real close would be pass for a great special effect. I admit, the effect kind of works, but still hilariously executed.
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“Meet Me There,” distributed by MVDVisual and produced by SGL Entertainment, is presented in a widescreen presentation with a standard 2.0 mix. The images a bit grainy with dark tones during night scenes. Overall, “Meet Me There” needs a bigger catalyst to get Ada and Calvin into a more dire situation, but the sensation of being in a bad dream is achieved here yet the transitions from act-to-act or even scene-to-scene becomes muddled. Check out Lex Lybrand’s “Meet Me There” and see what the town of Sheol has in store for our hero and heroine.

Earn Your Evil Badge at Fat Camp! “Camp Massacre” review!

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Ten overly obese contestants compete on a boot camp type reality show to lose the extra pounds and have a chance at winning one million dollars in prize money. With intense health-crazed coaches, a strict unconventional exercise regiment, and a low-carb diet on the menu, things couldn’t be worse for the over weight competitors until people started to disappear and end up being murdered. Shedding the weight was literately the case as one-by-one a contestant’s eviscerated remains were discovered. Now the competition’s stakes have intensified and death is lurking around every corner. And we all thought fat shaming was worst that could happen to the weight challenged…
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“Camp Massacre,” “Massacre Camp,” “Summer Camp Massacre,” Klown Kamp Massacre.” No matter how you jumble up these specific words, a generic title is still a generic title and the title “Camp Massacre” puts a pre-viewing damper on a long night of film watching along with a cover splayed with a former porn starlet and Charlie Sheen ex-“goddess” Bree Olson, semi-retired wrestler Al Snow, and, well, some unknown hot brunette chick with a bloodied chainsaw who doesn’t appear to be a part of the cast. Going into “Camp Massacre” knowing that this title considers itself a horror-comedy had helped push myself into popping in the disc and pressing the play button or else this title might still be collecting cobwebs on the nightstand.
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The opening scene introduces the viewers to two young and attractive women and one large, unattractive woman in a hotel room discussing plans on what they’ll do tonight on a foreign island land which is undisclosed to us – looked like Key West, honestly. One of the women pondering going out on a night on the town is Bree Olson and before you know, Olson is fully and gratuitously nude in a sensual, extended shower scene and you all know what happens if you show your skin too soon in a horror movie! This ambiguously set and gratuitously shot segment proceeds into the main title and credits that slide right into the meat of the film that seemingly almost has nothing to do with the opener. The introductory scene barely hangs on even with the finale connection, but this thin connection creates an out of place awkward sequence that stands out like a sore thumb.
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Connectivity and longevity of story remembrance sums up co-directors Daniel Emery Taylor and Jim O’Rear’s experience in filmmaking. The two filmmakers also produce and star in this collaborated effort to bring comedy and horror to a Biggest Loser reality show parody and to homage their love for certain horror icons. The hot topic of obesity is currently in a state of widespread prevalence making “Camp Massacre” relevant to the world’s personal and social problems that the media hops on, but the real question is did directors Taylor and O’Rear succeed in making a good comedic and horrifying quasi-film out of movie about obesity? That conclusion is all in the eye of the beholder and all in the interpretation of the viewer.
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Is “Camp Massacre” a horror film? Yes. Is “Camp Massacre” a comedy movie? Yes. Is “Camp Massacre” a good horror-comedy? On a scale from one to ten, with ten being the highest – a three. Let me explain; the killer is written as a chubby villain with a “Six Pack, Abs” red apron and a Kentucky Fried Chicken family bucket on his head for a mask. If the killer’s looks intended to be a hoot, then there was a monumental failure. The killer’s arsenal is a collection of obviously off-colored prop knives and machetes that could be considered costume jewelry or packaged costume outfit accessories for party goers. The death effects are a bag of cheap tricks which are not sold convincingly and don’t bring the blood in which “Massacre” implies. The one single element going for “Camp Massacre” being a horror film – or even within the standards of a comedy – is the amount of nudity. Bree Olson, Megan Hunt, Amy Boyatt, and even Taylor’s wife, Ami Taylor, succumb to the conventions of a campy horror film and reveal the goods for the world to bear-witness. My only question is, where was Ava Cronin’s nude scene?
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As far as the comedy side of this horror-comedy, “Camp Massacre” delivers on some levels mostly hanging around on a slapstick and immaturity elements. Daniel Emery Taylor’s character Greg paired with T.J. Moreschi’s Andy couldn’t ask for a better coupling as a budding duo who compliment each other’s wits with different character personalities. Add in a self absorbed narcissist body guard (who on the DVD cover looks like a coach with a whistle and clipboard) character named Ritz played by the bulky wrestler Al Snow and you’ll get a chuckle or two out of this feature. Ritz delivers quirky quips like “everything is good on top of a Ritz” during the scenes right moment. However, much of the comedy misses the mark and also just comes off as saying a lot of “fucks” in the dialogue which becomes stale after a first twenty. Simply put, the comedy is overly clichéd, but can still give you a half-assed tickling.
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I’m not overtly excited about “Camp Massacre’s” characters either. Greg, Andy, and Ritz are fine and I’m found the homosexual Jarrod and the hispanic Josue to be entertaining. The rest of the cast seemed a bit tired. Actor William S. Tolliver was either sitting or laying flat the whole movie which was probably due to his weight, but the character became old as Tolliver didn’t express much versatility for an immobile character. Darc Ness, played by Ernest Douglas Nichols, didn’t bring the Goth attitude I had hoped. The character mixed Goth and serenity blending the persona into a off-key concoction. Most of the cast have worked with Taylor and O’Rear and have become their own heavy set version of entourage. What the film needed was more Michael Myers portrayer Dick Warlock, but that’s neither here nor there.
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The MVDVisual DVD dons a 1.78:1 widescreen transfer that looks decent except for a bit of posterizing after the opening credits in the darker scenes. The Dolby Digital 2.0 mix does well channeling and prioritizing the dialogue, but some production issues weigh heavy on an uneven mic placements causing slight interference from scene to scene. For disc extras, there is solely the movie’s trailer. Overall, “Camp Massacre” doesn’t deserve to be completely passed over, but I wouldn’t expect instantaneous cult status or life changing acting nor an outer-body experience in filmmaking. Instead, take “Camp Massacre” for what it’s worth; a bunch of fat guys at boot camp being stalked by a bucket head killer with Al Snow and lots of nudity. Where can you go wrong with all that?