Though I thoroughly enjoyed director Chad Ferrin’s “Easter Bunny Kill! Kill!” I have to say that its primary downfall is that it takes much too long to build up to anything violent or horrific. A good forty minutes in to the movie I understood the build-up but could never understand why it took so long to extrapolate on the cruelty of the supporting characters. In spite of those flaws though “Easter Bunny Kill! Kill!” is a great little horror karma tale you’ll enjoy if you’re willing to invest enough time in the story and over the top performances.
Caesar and Otto’s Summer Camp Massacre (2009)
The best way to approach independent films looking to tap the comedy genre is to keep an open mind. Try a parking lot in the Grand Canyon type of open and you’ll be there. That’s the way I confronted Dave Campfield’s “Caesar and Otto” horror comedy. An apparent sequel to an earlier film of his, Dave Campfield enlists the horror genre to this installment and just goes all out wacky in every single instance he can muster up. Campfield doesn’t exactly follow a specific comedy formula here and it shows quite often with scenes that are just insanely nonsensical. From character Caesar’s inherent wackiness when indulging himself in a bit part as an extra in a television show (a scene that promised to be awful but was quite funny), to his implementing of “Where’s Waldo”-like glasses when reading a map, Campfield just seems to be using whatever he thinks will work no matter how nonsensical it may be and… It’s funny. It’s very funny.
Breaking Her Will (2009)
Director Bill Zebub’s exploitation horror film “Breaking her Will” is an exercise in torture. On the audience. It’s tedious, boring, repetitive, redundant, and has no purpose other than to be as shocking as humanly possible with torture methods that are tame compared to what I’ve seen in films like “Hostel” and “Hard Candy.” Bill Zebub doesn’t even want to try to present a premise, he just wants to get to the torture. The movie opens with a young girl hitchhiking. Where is she headed? Why is she hitchhiking? Who knows? She has no bags and barely any clothing. She’s picked up a man on the road who drives through the woods (the girl doesn’t even seem disturbed by this) and he stops at a parking lot and gets out (as she sits in the car confused!), he pulls out a knife on her and in spite of the fact the door is wide open, she submits to being taken hostage instead of doing what normal people would do like fight, or run, or scream. And that’s only the first four minutes.
Survival of the Dead (2009)
The second leg of Romero’s zombie epic takes a page from “Day of the Dead” in where our characters seek refuge in an island out on the water and are continuing an ever going debate on whether or not the walking dead can be adjusted to eat an alternative to long pig. Once again Romero splits audiences down the middle with “Survival of the Dead,” a definitely polarizing zombie entry from the master who continues to entertain me in spite of audiences continued misunderstanding of what the king of the zombies is pushing for.
Kitten with a Whip (1964)
I am admittedly ignorant to the praise and mocking this 1964 ditty has received over the decades. From a treatment on MST3K in America, to a cult following, “Kitten with a Whip” is that rare piece of cinema fodder that is a completely obvious chunk of sixties conservative propaganda demonizing the youth, free spirits, and sexuality altogether. Setting aside the context, “Kitten with a Whip” is a dumb movie. It’s sometimes very ridiculous to the point where this can just be deemed as a fantasy or a cartoon of a sorts. The vivacious Ann Margret coming off of “Viva Las Vegas” slums it and mugs it for the camera in this cliché youth gone wild quasi-thriller that is something of a fractured romance beneath the hilarious camp and utterly absurd dialogue.
The Last House on the Left (2009)
Let me preface this review by declaring my sheer utter hatred for Wes Craven’s original “The Last House on the Left.” I don’t care how influential it is or has become, since watching it about four years ago I couldn’t believe my eyes. Here within this seventies grindhouse flick was a truly nihilistic gem hidden beneath an utterly ridiculous sub-plot involving two of the dumbest cops I’ve ever seen. “The Last House on the Left” in spite of its impact on cult filmmaking is one of the worst movies I’ve ever laid eyes on. So with that did I support a remake of it? No. Why? Because for one thing, Craven ripped off “The Virgin Spring” with his film, so it was a remake already, and two this could have been its own film without the tag. Nevertheless with its great cast and atmosphere I approached this with an open mind and guess what? I loved it.
It's Groundhog Day Chainsaw Sally! (2009)
On Groundhog day in Porterville Maryland, nine independent filmmakers went deep in to the woods to film a documentary about a string of disappearances and murders that became local folklore and… well, let’s just say they didn’t come across any stupid punk ass witches or giggling children. No, they happened across Chainsaw Sally and her brother Ruby. Stumbling across the group of inept filmmakers, the brother and sister slaughter team decide to bring down their investigation that could lead to their downfall if not stopped. So Chainsaw and Ruby decide to bring down the poor film students one after another cutting off their resources, and cutting off their limbs while having a gay old time.