Trifecta of Horror: Father’s Day (2011), Dead Hooker in a Trunk (2009), Manborg (2011)

Father’s Day

Chris Fuchman has become one of the most feared serial killers in Tromaville. Targeting only fathers, his crimes have become legendary. Hot on his tail is Ahab (Adam Brooks), a man hell-bent on revenge for the death of his death of his own father. Ahab is joined by Twink (Conor Sweeney), a young male prostitute and Father Sullivan (Matthew Kennedy), a naïve and eager to please priest (Matthew Kennedy).

Filmed on a budget of $10,000 by the indie crew at Astron 6, Father’s Day is a balls to the wall, schlock fest that tips its hat to the exploitation films of the 70s. As gory as it is funny, it delivers a ballistic 90 minutes that never lets up. Plus, it has one of our favourite downbeat endings ever.

Dead Hooker in a Truck

When twins, Badass and Geek (played by writers and directors Jen and Sylvia Soska) find a dead prostitute in the boot of their car, the girls find themselves in a fight for their lives, involving triads, bible thumpers, chainsaws and a mysterious man known only as the Cowboy Pimp.

Dead Hooker in a Trunk is the debut effort of the sick minds who gave us American Mary. Different in tone to the body modification drama, it reminded us in a fashion of Peter Jackson’s violent and grossly amusing Bad Taste. The budget is low, but the love for genre films and a knowing sense is up there for all to see. A rowdy rollercoaster of a road movie, it scores extra points for Geek’s acknowledgment of the crazy ass day they’ve had.

Manborg

Back to Astron 6 with this throwback to the straight to video ‘classics’ of yesteryear. Mankind has been taken over by the denizens of Hell led by the evil fucknut Draculon (Adam Brooks). A soldier, brought back to life as a cyborg and going by the name of Manborg (Matthew Kennedy), finds himself caught up with a gang of futuristic gladiators/freedom fighters. Can good overcome evil? Manborg had an even tighter budget than Father’s Day, but that doesn’t mean it’s limited in scope; using green screen and models to create dystopian backdrops.

All of Astron 6’s films are laced with black humour, but Manborg truly reminded us of the comedies of Mel Brooks. Whether they are happy with that assessment is another matter. Still, with fun characters like the terminally lovesick Baron and an OTT score that would make The Running Man mope, this is a definite must.

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