Plot: Peter McKay (Shayan Bayat) hasn’t been at his childhood home in two decades, but he has returned since he inherited the house. His memories of the place aren’t the best, with an incident involving the Easter Bunny standing out as the most horrific. When young Peter saw the rabbit hopping outside on Easter, he waved him inside and the siblings hoped for copious amounts of chocolate as a reward. Instead, the Easter Bunny lopped off his sister’s head, leaving Peter scarred and unable to celebrate the sweet, sweet holiday ever again. But now he is grown up and no longer white, so he returns home to claim his inheritance, with a group of colorful friends in tow. Things go well for a while, with sex, water slides, and freestyle rap battles, but soon Peter begins to see the Easter Bunny here and there. But is the Easter Bunny truly back to finish the job on Peter, or is he just overcome with paranoia?
Entertainment Value: This is a micro-budget tribute to 80s horror, shot on video and with an often silly sense of humor. As always, these kind of grass roots, home made films aren’t everyone’s taste, but I always admire the ambition and craft to produce and release this kind of content. In this case, the end result is a little inconsistent, but it does provide some solid entertainment. The limited resources are obvious, such as the 60s intro scene that features all manner of modern elements, but the humor helps to make those issues minimal. I mean, if you’re concerned with period authenticity, this is likely not your kind of movie, regardless. I think the movie’s best elements are the offbeat characters and awkward situations, such as some epic cringe level white boy rap and a scene where girls in unflattering bathing suits discuss exposition while struggling to hula hoop. I love that kind of stuff, but I can see why others wouldn’t, so it depends on your level of appreciation for odd moments like those. The horror side is thin, with no real scares and the kills are dampened by excessive digital blood. Like the digital blood covers the screen, it is beyond annoying, looks terrible, and really removes the fun from the kill sequences. I know budget issues likely prevented more practical effects, but I’d rather have no blood than this kind of digital gore. Despite all that, I think this is a fun movie that has some quirky characters and odd moments, enough to recommend it to fans of micro-budget horror.
A scene offers some bare ass smooshed against a window, but otherwise, no nakedness in this one. There’s a shower scene, a roleplay sex scene, and other romantic situations, but the movie keeps the good stuff under wraps. The blood is minimal, outside of the digital bloodshed I mentioned before. I don’t understand why it was used like it was, to splatter the entire screen in MS Paint level digital gore, as it borderline ruins the kills and adds nothing of value. I hated this approach even more than I detest typical digital blood, as it was so intrusive. The kills can be fun, such as the carrots to the eye sockets, but that stupid digital blood tanks the scenes. Aside from the digital stuff, we get some squirts of blood from off screen and some aftermath blood. The dialogue isn’t a home run in terms of wild entertainment, but we do get some quirky characters like Mike and whatever the white rapper’s name was. I’m not sure if the odd dialogue was intentional, but it is fun at times and adds a lot to the experience. I do wish it was a little wilder and more frequent, but some fun lines can be found here. The craziness here is in minor doses, but they do pop up rather often. The cringe freestyle rap, terrible bathing suits, awkward acoustic guitar performance, rubber body parts, and expositional hula hooping all add some off the wall moments.
Overall Insanity: 3/10