Review Category: DVD/Blu Ray

Der Samurai

Till Kleinert’s indie sensation Der Samurai might be cut from the same spiritual cloth as the meta, post-modern horrors of the 1990s, but it’s quite unlike anything you’ve seen before. Another crowd-funding success story, proving that the genre is firmly in the hands of creators, and the most interesting things are happening well outside of studio jurisdiction.

Not since the triumph of Angela Carter’s Bloody Chamber have werewolves been so scrutinised. Der Samurai owes as much to fairy-tales as any of Carter’s stories, and it often bears a resemblance to the gothic splendour of Neil Jordan’s The Company of Wolves, based on the Carter short of the same name. Not only has it reinvented the werewolf subgenre, but proved there’s still bold new frontiers for horror.

Like many backwoods horror, it taps into the insular isolation of small towns, and you quickly feel cut off. It’s vividly shot, with cinematographer Martin Hanslmayr showing off his chops in constructing and framing a shot, with playful, elegant and experimental camerawork. The film has a Lynchian use of sound and images, but there is something distinctly European about it, something very German; the industrial thrum, the beautiful sparseness and the otherness.

Michel Diercks has an unnerving and compelling presence as Jakob, and you never quite feel safe in his company despite spending the entire film in his police uniform and caring for his grandmother. He’s introverted and preoccupied with a wolf that has been roaming the woodland surrounding the town. He’s fervently obsessed, like a screen killer with their own infamy. You get the sense of his repression, of a fundamental lacking in his character, and his life slowly unravels after a dramatic meeting with the titular samurai. And whether this leads to his ultimate downfall or liberation, is up for debate.

The Samurai is a mischievous and chaotic character, a force of nature sensuously played by Pit Bukowski with a dancer’s grace. He captivates and steals every scene he’s in, garbed in a long white dress and brandishing a sword. Der Samurai is a homo-erotic story of musicality, of repression, wrapped up in the guise of a gothic werewolf movie, with one toe always in traditional folklore. It’s often surreal, filled with strange humour, and utterly absorbing.

INFO: CERT: 18 / DIRECTOR & SCREENPLAY: TILL KLEINERT / STARRING: MICHEL DIERCKS, PIT BUKOWSKI, UWE PREUSS / RELEASE DATE: OUT NOW
 

TUSK
Having dipped his toes into the murky waters of horror with 2011’s Red State, Kevin Smith returns with another dark and twisted tale known as Tusk, the first of his planned True North trilogy.

Plot-wise, Wallace Bryton (Justin Long) is the co-host of an outlandish podcast known as The Not-See Party. Looking to exploit some of the more bizarre and unique folks dotted out there across the worldwide web, Wallace heads off to Canada to poke fun at his latest story, the Kill Bill Kid. Unfortunately, by the time he arrives to see this poor sap who’s accidentally lopped off his own leg with a samurai sword, the wannabe Bride has offed himself. Having travelled all of that way for nothing, Wallace is in desperate need of a story in order to make his trip worthwhile. Step forward, Howard Howe (Michael Parks).

Wallace happens across an advert placed by Mr. Howe, an advert which offers somebody the chance to live with him in his expansive house, rent-free, and all the new tenant needs to do is act like a walrus for a set period of time each day. Intrigued, Wallace treks out to rural Manitoba to meet the wheelchair-bound Howe. As we learn of Howe’s eerie, walrus-affected backstory, it’s not long before it becomes clear that the creepy old sea dog is keen to turn Wallace into a walrus in order to bring him some companionship and let the good times roll. Or something like that. Elsewhere, Wallace’s girlfriend Ally (Genesis Rodriguez) and podcast co-host Teddy (Haley Joel Osment) set out to find the missing walrus-in-waiting.

Safe to say, Tusk is just a little unique in its premise. It’s not every day you come across a film which sees a crazed old man looking to bring back the good times by turning an unsuspecting enquirer into a doting, fish-eating walrus named Mr. Tusk. Odd, yes, but the film certainly works well on a multitude of levels. As well as a truly sinister edge at times, the film is also laced with the snappy dialogue so often associated with Smith, and there’s even a few choice and impressive monologues for the always-stunning Michael Parks. It goes without saying that Parks is great… but Parks is great. Better than great. But if you’ve ever seen a Michael Parks movie, you’ll already be aware of this. Here the veteran actor plays an unhinged, erratic loner who essentially is longing to relive a particularly fond memory, yet is one creepy-ass bastard in doing so.

Away from Parks, Justin Long is also in fine form here, delivering a nobody who is suddenly a somebody thanks to exploitative podcasting, and he is equally a scumbag as well as also managing to be remarkably engaging and watchable. More surprising is how charismatic Haley Joel Osment comes across during the time he’s on screen, with many maybe having not seen the now-27-year-old actor since the likes of A.I. and The Sixth Sense. The chemistry between both he and Long and he and Genesis Rodriguez works well, although in varying ways. And then there’s Johnny Depp, popping up near the end of the second act and threatening to steal the film as his oddball detective, Guy Lapointe, devours scenery like a shark chowing through Amity Island tourists.

When all is said and done, Tusk is a worthy follow-up to the fascinating Red State (another Smith and Parks vehicle), and Kevin Smith delivers a deeply disturbing movie that throws up plenty of questions about monsters and humanity yet still manages to give audiences enough of the Smith humour, charm and charisma that they’ll be familiar with by this stage of the game.

Completing the release, there’s one of Smith’s always-information and entertaining commentaries, along with a couple of nice deleted scenes and the brilliant animated version of the whole Tusk concept coming together on Smith’s SModcast. Whilst some may find it a little too odd, there’s plenty in Tusk that will appeal to a wide variety of audiences. Walrus, yes? Unequivocally.

Special Features: Audio commentary with Kevin Smith / Animated podcast / Deleted scenes

INFO: TUSK / CERT: 15 / DIRECTOR: KEVIN SMITH / SCREENPLAY: KEVIN SMITH / STARRING: JUSTIN LONG, MICHAEL PARKS, GENESIS RODRIGUEZ, HALEY JOEL OSMENT, JOHNNY DEPP / RELEASE DATE: MAY 25TH (DIGITAL HD), JUNE 8TH (DVD, VOD)

 

CHARLIE CHAPLIN: THE MUTUAL COMEDIES

Two years after breaking into the film industry in 1914, Charlie Chaplin became the highest paid entertainer in the world after signing a lucrative deal with the Mutual Film Corporation. The deal came complete with his very own studio where Mutual allowed him complete artistic freedom to make 12 two-reel films in the space of a year. Chaplin has since described those months as the most “inventive and liberating” of his career. Watching the restored HD films back to back, it’s easy to see why.

Working at a rate of one film a month, the twelve are divided across the two-disc collection, the first containing some of his most memorable and inventive works. The Floor Walker is the first film made for Mutual and is a rambunctious debut that demonstrates his effortless physicality and dancer-like movements. It’s a cod crime caper that sees detectives investigating a department store for embezzlement, and Chaplin switching identities with the dead ringer manager (Lloyd Bacon). The action is based around one brilliant set piece, the elevator, where even now Chaplin baffles with his gusto and fearlessness.

The Fireman is rib-tickling farce, loaded with some of the most explosively funny moments from the collection. That said, it doesn’t have quite the same attention to story or construction as many of the others. But crucially, it makes an unlikely hero out of Chaplin that would come to underpin many of the following films. The most obvious was The Vagabond, where his lovable Tramp took a narrative leap forward and winds up saving a girl (Edna Purviance) from a band of gypsies. But his giddy romance is rattled when a frustrated artist spies her birthmark and paints her portrait. Noticing the birthmark, her estranged mother recognises the girl and they are reunited. It balanced pathos and a pithy sentiment that came to typify much of Chaplin’s feature lengths in the years to come.

One A.M. is the most straightforward, demonstrating Chaplin’s ability to play a comic drunk with some of the best visual gags; sliding rugs and taxidermy animals have never been funnier. The Count sees more of the same, but with some great food gags it’s hard not to get won over. The Pawnshop features one of the great silent comedy sequences in which Chaplin dissects an alarm clock in a bizarre and almost surrealist scene.

The second disc has the remaining 1916 films with the satire Behind the Screen, and The Rink where Chaplin blags his way into another party. And then there’s the 1917 films, including two of his most revered, recognisable and important. Easy Street is two parts social satire to one part slapstick humour. The Immigrant, on the other hand, was a daring statement, given credence by his own immigrant status.

Through the restoration and HD sheen, and Carl Davis’ magnificent scores, Chaplin shines as both and actor and director. His impressive wit, enduring physicality, mischievous expressions and cartoonish buffoonery leave behind a solid 12-film run that were decades ahead of the curve. But it wasn’t Chaplin alone, with regulars Lloyd Bacon, Eric Campbell, Edna Purviance and Leo White getting as many laughs and standout moments for themselves. The Mutual Comedies are almost 100 years old and are still indelibly hilarious, familiar yet surprising, and a real must have.

Special Features: Audio commentaries / Alternative scores / Topical newsreel / Documentary short / Interview with Carl Davis / Illustrated booklet

INFO: CHARLIE CHAPLIN: THE MUTUAL COMEDIES / CERT: U / DIRECTOR: CHARLIE CHAPLIN / SCREENPLAY: VARIOUS / STARRING: CHARLIE CHAPLIN, LLOYD BACON, ERIC CAMPBELL, EDNA PURVIANCE, LEO WHITE / RELEASE DATE: MAY 25TH
 
 

NAZI VENGEANCE

Ignore the hyperbole title; this low-budget British horror-thriller is a far cry from the Nazisploitation shockers that we’ve been subjected to over the years.

The story follows a journalist, Ralph (Drake) who seeks regression therapy from his friend, Claudia (Ackerman) to help with his recurring nightmares. It turns out he may have been a commando in the Nazis who attacked in the South Downs. Along with their partners (who happen to be having an affair), they go on a camping holiday to the area he has seen in the visions.

Once there, he begins recalling more and things take a turn for the sinister when their partners disappear – abducted while having sex by a man with a burn fixation. As Ralph and Claudia unravel the disturbing memories, the danger heightens…

Originally given the less salacious title, Backtrack (and just released stateside as Backtrack: Nazi Regression), this feature debut from Sands (with his father taking writing duties) is ambitious and intriguing. Having directed mainly documentaries, one would expect the style to be more akin to found footage, but thankfully this is one low-budget filmmaker who has avoided that well-worn route (at least for now). Although far from perfect, it’s an entertaining and occasionally brutal shocker that is brave enough to attempt an elaborate story, rather than go for cheap shocks. The uneasy sense of dread and anxiety is well handled, and the gore effects are sickeningly realistic (except for a suspect blood stain). The fabulous cinematography by Haydn West makes the most of the luscious Brighton countryside while also adding to the atmosphere of the dimly-lit torture scenes. It’s only really the inexperience of the actors that throws you out of the film at times. It’s not a major problem for anyone used to watching films of this level of budget, though, and doesn’t happen too often.

There’s lots of interesting flourishes in the visuals – particularly during the hallucinations Ralph experiences with elements of the image become blurred, highlighting the blurring of reality in his mind – and although hardly seen until the climax, veteran Julian Glover is as fabulous as one would expect. It could possibly be a little too talky for some audiences, but worth giving a go if adventurous, thoughtful horror is your bag.

INFO: CERT: 18 / DIRECTOR: TOM SANDS / SCREENPLAY: MARK SANDS / STARRING: MARK DRAKE, SOPHIE BARKER, JULIAN GLOVER, ROSIE AKERMAN, MILES JOVIAN / RELEASE DATE: OUT NOW

SOCIETY (1989)

The subject of paranoia has been a plot point used in countless films, and is used again in Society to great effect.

Bill Whitney (Warlock) is a teenager that just doesn’t feel like he fits in. He thinks he might adopted and he just doesn’t seem to understand that social requirements that his peers and the adult community around him embrace so easily. He has sessions with a shrink who tries to convince him otherwise, but to no avail.

When his sister, Jenny (Patrice Jennings), has her coming out party, Bill overhears a recording that sets alarm bells ringing as it appears that the party is merely an orgy. Disturbingly, his own parents might even have got involved. From here, the community at large look to cover up what Bill has discovered and is even happy to commit murder to do so. Anyone who tries to agree with Bill and offer him evidence to back up his concerns winds up dead.

It’s only when Bill is rounded up for another party that the sickening truth eventually comes out and he realises that you’re not paranoid if they really are after you.

Now over twenty five years old, it is clear that Yuzna successfully crafted a horror film out of the premise that the class system really does allow the stinking rich to prey on the poor or those from disadvantaged backgrounds.

Of course, with this being an ‘80s film, the execution of the idea is wonderfully over the top with what is probably the most memorable last thirty minutes in a horror film ever. As it came before the age of CGI, it’s amazing to watch the creations of Screaming Mad George (go look him up kids – the guy was a genius) and his team in one of the most bizarre endings in cinematic history. Gross-out doesn’t even cover it. It makes you realise how over reliant we are on computer effects these days.

It took over three years for the film to be released in America as it was feared that they wouldn’t understand it. With a rich transfer and limited to only 3000 copies, this is a must buy for genre fans of the era. Satire at its best.

Extras: The Masters of the Hunt featurette / The Champion of the Shunt FX featurette / Brian Yuzna Q&A / In Conversation / Music Video / Collector’s Booklet / Society: Party Animal – comic book sequel.

INFO: CERT: 18 / DIRECTOR: BRIAN YUZNA / SCREENPLAY: RICK FRY, WOODY KEITH / STARRING: BILLY WARLOCK, DEVIN DEVASQUEZ, EVAN RICHARDS / RELEASE DATE: JUNE 8TH

WHIPLASH

The central thesis of Damien Chazelle’s Whiplash is the idea that ‘good job’ is poison to creatives, though whether or not praise actually leads to complacency is left ambiguous. Chazelle’s script might have pissed off jazz fans the world over, but the strength of the film’s performances, slick editing and pounding soundtrack make for an intense meditation on obsession.

Miles Teller is a great fit for the awkward character of Andrew Neimann, a drummer who enrolled at a prestigious music conservatory. He’s soon scouted by the messianic figure of J.K. Simmons’ Fletcher for his jazz band. Under Fletcher’s cruel tutelage, in a physically demanding role, Teller comes into his own proving he’s one of the most promising rising stars in Hollywood. The two central performances are outstanding, and watching them play off one another is the film’s main draw, but Simmons is utterly electrifying; it’s an effortless performance, intimidating the students and viewer both.

The cinematography is a careful symbiosis between music and moving images; a swell of shots, as seemingly fleeting as the beat of a drum. The camera, like the soundtrack, is rarely flat or still, instead it maintains a constant motion. It’s terrifically shot, theatrically lit with warm lighting and balancing shadows. Included on the Blu-ray release is the original short film, which is a rehearsal for the main act, playing almost shot-for-shot only without the presence of Teller or the same attention to lighting.

Chazelle’s script is subtle and beautifully conveys character, teasing Andrew’s obsessive dedication which makes him more and more like Fletcher. There’s something of Jesse Eisenberg’s unhinged portrayal of Mark Zuckerberg in The Social Network about him, and it’s stronger for it. Despite Fletcher’s vitriolic and homophobic slurs, he’s captivating, going from a moment of vulnerability to intense hostility in the next.

Whiplash is a film to see for its powerhouse performances and not for its skewed portrayal of jazz. After the punchy ending, you’ll only want to take a momentary breather before a second viewing.

Special Features: Audio commentary / Featurette / Deleted scene / Trailer / Original short film

INFO: WHIPLASH / CERT: 15 / DIRECTOR: DAMIEN CHAZELLE / SCREENPLAY: DAMIEN CHAZELLE / STARRING: MILES TELLER, J.K. SIMMONS, MELISSA BENOIST, PAUL REISER / RELEASE DATE: JUNE 1ST

A MOUSE’S TALE

It is often quite hard as an adult to say what a kid will like; parents can sit and watch all manner of rubbish (and have done) but if their toddlers enjoy it that is all that counts. However, sometimes that means filmmakers just manufacture tosh (Pudsey: The Movie) and expect the masses to sit there and accept it. Fact is, in this day and age family films have become a far broader and all around pleasing genre with films like Paddington proving that kids and parents alike can be entertained by a single film. Sadly the case is not so for this animated straight-to-disc feature, who’s only noticeable feature is some recognisable names in the cast.

A Mouse’s Tale sees a grandfather mouse tell his young grandchild a story of aspiring magician mouse Sebastian (Drake Bell), who finds himself on a quest for a powerful crystal to save the mouse kingdom from a rat invasion. Not merely coming with a scent of Antz, this small budgeted animation has a story that is vastly familiar. From the very start you can piece together where it is going and that final twist (if you can call it that) involving a princess will be obvious to even the under 6s. A Mouse’s Tale in all fairness offers a harmless, if dull, viewing experience and there are the odd ideas (a hinted animal testing angle to the villain – the film’s best character) and a good use of fairies but everything else is strictly by the books. A small hero with big dreams? Check. A silly king? Check. “It was all in your heart” message? Check. The clichés are all here, and while it feels a touch cruel ripping apart a kids film on these grounds, the fact is that modern day kids TV offers far more appealing adventures. As do the bog standard Disney straight-to-disc movies.

The plot will perhaps engage really young toddlers but parents may have a harder time staying awake. The story itself is essentially a quest that eventually turns out to be for very little, featuring characters that are not unlikable but at the same time hardly memorable. Sebastian is a fine if moany hero but his brave lady accomplice Samantha (Miranda Cosgrove) is a little better, whereas warriors Sir Thaddeus (Cary Elwes) and Provolone (Brandon Hudson playing the film’s answer to A Bug’s Life’s Heimlich) are typical characters in every regard. Even Tom Arnold’s turn as the bumbling mouse wizard Dalliwog is not quite as fun as it sounds (plus Arnold’s voice just doesn’t seem to quite fit the part). 

All in all, A Mouse’s Tale is lower in budget and with visuals that are pretty standard, however it is the plot and characters that is the real problem. We were hoping for a film like Anthony Leondis’ Igor here that was not a re-inventor of the wheel but was a fun and chipper little animation with some fine storytelling and characters. Sadly the film amounts to a forgettable offering that does not create strong enough characters to fear for their safety and has a story that in the end does not go anywhere much. There is nothing wrong with a plain and simple animated offering, and indeed really young kids will probably have a lot of fun, but if given the chance to watch kids TV or other straight-to-disc films out there, most likely they will probably be saying that they were better. Unoffending for really young kids but highly unremarkable and snooze-inducing for parents, family films can be and often are much better nowadays.

INFO: A MOUSE’S TALE/ CERT: U / DIRECTOR: MYCHAL SIMKA, DAVID BISBANO/ SCREENPLAY: DAVID BISBANO, MYCHAL SIMKA, RAQUEL FARAONI/ STARRING: DRAKE BELL, MIRANDA COSGROVE, CARY ELWES, TOM ARNOLD, JON LOVITZ/ RELEASE DATE: MAY 25TH

HALF LIGHT

Every parent’s worst nightmare informs this Demi Moore chiller, re-emerged from 2006; after the death of her young son, novelist Rachel Carlson heads off to a small Scottish coastal town to recover and work on her latest book. She’s not alone in her eerie writer’s retreat though – as they so often tend to do, her demons have followed all the way from London, manifesting in such a manner that threatens to encroach into her reality, posing a very real threat to her and that book she really should be finishing.

He gets a name-check at the start, but there are echoes of Stephen King to the story, in which a troubled writer suffers supernatural visions in a small, folksy town. Bear with it though, for it takes a good while to get there. Half Light is more romantic mystery than horror film proper, spending most of its time on a tentative romance between Rachel and local lighthouse keeper (really) Angus McCulloch (really). The beautiful Scottish environment and cheery if cautious locals all add to an impressive atmosphere, backed up by fine actors such as Hans Matheson, James Cosmo (he of Game of Thrones) and LOST fan favourite Henry Ian Cusick (distractingly being one of the few people not to speak with a Scottish accent). Moore is the weakest link, her acting becoming worse the happier her character is – thankfully, the story doesn’t give her too much opportunity for happiness. An odd holiday location for one whose son drowned to death; a Scottish island literally surrounded by water.

Easy, engaging viewing, Half Light will bore most fans of ‘real’ horror, being soapy and inoffensive for the most part, but those who don’t necessarily need jump scares or gore should appreciate its light mystery and rugged visuals. With no special features and no frills, this DVD keeps itself afloat on story alone. Quite why it’s resurfaced now – nearly ten years since its original release – is unclear, but it didn’t exactly deserve to sink without a trace either.

Special Features: None

INFO: HALF LIGHT / CERT: 15 / DIRECTOR: CRAIG ROSENBERG / SCREENPLAY: CRAIG ROSENBERG / STARRING: DEMI MOORE, HANS MATHESON, JAMES COSMO, HENRY IAN CUSICK / RELEASE DATE: OUT NOW

 

RZ-9

If you can imagine a cheap and cheerless Robocop knock-off stripped of all the satire and set in a post-atrocity America which posits Christianity as the (good guy) terrorists, then you’re halfway to conceiving of just how confused and simultaneously ponderous RZ-9 manages to be. Throw in a complete lack of self-awareness, some deathly earnest characterisation and a preponderance of clunky and clichéd dialogue, and you’re almost there.

Patterson Endcott (Joshua Marble) works in an unfeasibly small government department as a drone controller, effectively remote-piloting unmanned airborne reconnaissance and attack vehicles in a paranoid near future in which anybody can become a suspect without warning. Except that Endcott does get that warning, finding his name during a scan through a list of potential terrorist converts. Already conflicted by having been forced to open fire into a crowd of innocents, Endcott uploads a programme which temporarily shuts down the drone operation and scarpers, taking his younger sister with him.

What follows never comes close to being as exciting as it ought to be. Part of the problem is undoubtedly the way certain elements that are set up fail to pay off; for example, no sooner have Endcott and his sister gone on the run than they join up with a rebel group – in the very next scene – negating any sense of hopelessness about their situation. And it’s difficult to engage with the characters when you’re being distracted by the obviousness and frequency of the way RZ-9’s “message” is crow barred in at every available opportunity. Neither the trite dialogue nor the lifeless and terribly sincere performances – with one perplexingly jarring exception – are ever going to invoke any empathy, and when one of the main characters is killed some distance from the end, it’s difficult to feel surprise let alone to care.

There is an attempt to show how the protagonists on both sides are just as prone to loss as one another, and when it’s not jumping around the pacing and evocation of place are sympathetic. But there’s a sense that you’ve seen it all before, even with a central premise as potentially provocative as this.

Ultimately, RZ-9 is little more than the reactionary right attempting to portray themselves as just as persecuted as any other religious group. There’s a having your cake and eating it mentality at play, with the principals demonstrably just as trigger-happy as the ostensible villains, and a Damascene conversion at the end is not only copiously signposted, but also undermines any ambiguity the filmmakers might have employed to save their film from falling into the realm of propaganda. What might have been a compellingly badly conceived entertainment simply ends up leaving a bad taste in the mouth.

Special Features: Featurette / Trailer

INFO REVIEW: RZ-9 / CERT: 15 / DIRECTOR: IAIN CARSON / SCREENPLAY: IAIN CARSON, DAVID RHOADES / STARRING: ETHAN MCDOWELL, MORGAN OBENREDER, JOSHUA MARBLE, CHARLIE GILLETTE / RELEASE DATE: MAY 18TH
 

EVIL ALIENS

The evil aliens come from outer space, in their fancy hi-tech space vehicles, to visit the inhabitants of a small island off Wales. As their name suggests they don’t come in peace, instead they mutilate birds and cattle, abduct people to either anally probe them to death or impregnate them with their alien foetuses, and as a leaving gift they stick an implant up your nose. Charming blighters that they are.

The story sounds like it could be a ratings winner for the struggling Weird World television program, who immediately send a motley crew of production staff, actors and a nerdy ufologist to the scene in a clapped out van. They are especially keen to interview Cat (Jennifer Evans) who has been impregnated by the aliens after being abducted.

They go to Cat’s home in Wales where they find a neglected house of horrors dominated be her three inbred brothers. That is nightmare enough for anyone, but the aliens haven’t finished their nefarious activities yet. To put it simply, the encounters between humans and aliens that follow is a gory, blood splattering spectacular, with limbs, heads and bodies being flung in all directions in a multitude of increasingly shocking ways. You’ll never look at a combine harvester in the same way after this.

The film’s special effects, alien costumes and production are impressive for an independent film, and the actors bring much eccentric and comedic colour to the story, though to be honest none of the characters are particularly likeable.

The film links the aliens to the fictional Devil’s Teeth stone circle and other prehistoric monuments (like Avebury), as these are all hubs in a grid of ley lines that provide power to the alien spacecraft. Unfortunately, the film doesn’t tell us why they keep coming here to knock up our women or torture us or mutilate our animals. Then again, this is not a film for intellectual discourse or speculation about our place in the universal pecking order.

Evil Aliens is at heart a comedy gorefest; it might not test your brain but it will turn your stomach.

Special Features: Interviews with cast and crew / Extended, deleted, unused and unfinished scenes / Bloopers / A guided tour of Life Creations / Trailer

INFO: EVIL ALIENS / CERT: 18 / DIRECTOR: JAKE WEST / SCREENPLAY: EMILY BOOTH, SAM BUTLER, JENNIFER EVANS, JAMIE HONEYBOURNE / RELEASE DATE: OUT NOW