16-year-old mentally retarded Nicholas lives with his mother and loves the Easter holiday. He still believes in the Easter Bunny and looks forward to Easter each year, when he believes his father, who left the family a decade before because he couldn’t stand Nicholas, will finally return.
Nicholas’ mother, Mindy, harbors no hope for the return of her husband and has a new boyfriend, Remington. Remington is outwardly cool, but when Mindy’s back is turned is abusive to Nicholas. Remington clearly has a mean streak.
Unfortunately, this Easter Mindy has to work a double-shift at the local hospital. With no babysitter, she is forced to depend upon Remington to look after Nicholas. Remington assures Mindy all will be well. Since he is moving in soon, he suggests it will be a good chance for him and Nicholas to get to know each other better. Relieved that Nicholas will be in good hands, Mindy leaves for work.
As soon as Mindy pulls out of the driveway, Remington becomes ugly and abusive to Nicholas, threatening both him and his pet rabbit if he doesn’t do what he is told. Remington calls one of his crippled pedophile friends and offers Nicholas to him in exchange for drugs and money. He leaves Nicholas with the pervert and goes off to find some hookers to join the party.
But as all sorts of freaks, geeks and sundry rejects descend upon the house for Remington’s Easter “party,” someone is clearly unhappy. People start getting picked off by various tools left behind by the construction crew who is remodeling Mindy’s home. Someone is stalking a slashing our seedy characters, using weapons such as a drill, a hammer, an electric saw, and even a mop handle down the throat, all in gloriously bloody fashion. Is it Nicholas, who is tired of being abused and sees through Remington’s fake façade, or is it the kindly bum who watches over Nicholas and gives him a living rabbit for Easter? Or is someone else taking issue with the goings-on in the neighborhood?
This is bad taste cinema at its lowest depths. Writer/director Chad Ferrin has taken several pages from the Troma School of filmmaking. This film is vile, mean-spirited, and obscene, reminding me of classic early Troma epics like The Toxic Avenger (which was the first instance of seeing a child killed on film for me and also took advantage of a character’s disability). However, it is all done with a sick sense of humor and with an obvious tongue-in-cheek style. For instance, we know Ferrin is having fun when the news channel on TV has the call letters KRAP and when Remington, excited about a drug-and-sex-fueled night of fun sings his opus, “Hookers…hookers and cocaine…hookers…hookers and cocaine, I’ll be feeling no pain.” And don’t forget a good dose of racism as the two stereotyped Mexican construction laborers argue with each other:
“Man, I don’t speak Spanish.”
“My Dad taught me English. What’s crazy is speaking Spanish when you’re living in America.”
There really isn’t a single character in this film the viewer can sympathize with. In fact, I was glad to see them all being dispatched. Poor Nicholas, as irritating as his whining and hand-wringing can be, is abused physically, verbally and emotionally. And the characters are all so stereotypically trashy, the viewer is forced to root for the killer who gleefully dispatches them one after the other in bloody fashion.
I can’t say the film was much fun to watch as each character just adds to the overall atmosphere of depravity, although I will say that the “twist” at the end when the true killer is revealed saved the movie for me. There are several revelations at the end that are excellent: the true killer’s identity and what really happened when Nicholas’ father disappeared one Easter Sunday many years ago. And while the final denouement is sappy sweet, I think Ferrin intended it that way, as one last jab at the viewer as if to say, “You can’t take this film seriously if you think this reunited family is going to live happily ever after.”
Filmed on a shoestring budget that sometimes shows (for example, one scene in which the cameraman’s shadow is clearly showing against the bedroom wall, and continually moves throughout the scene), the choice to cut the electricity in the house to make it spooky and dark was probably not a great decision as many of the gore effects are hard to see clearly. The acting is average with highlights by Timothy Muskatell as the slimy Remington and David Stamp as the soft-spoken and sickening pedophile Ray.
Easter Bunny Kill! Kill! is clearly not for the masses. But fans with a strong stomach and even stronger tolerance for pure meanness may be able to see through this film and enjoy it for what it is—trash cinema at its best. For more information, go to www.breakingglasspictures.com.