Execrable: Easter Bunny, Kill! Kill!

Easter Bunny, Kill! Kill! (2006)

Written and directed by Chad Ferrin
Produced by John Santos, Trent Haaga, Giuseppe Asaro, C.W. Ferrin
Starring Timothy Muskatell, Charlotte Marie, Ricardo Gray, Granny, David Z. Stamp, Jose I. Lopez, Marina Blumenthal, Amy Szychowski, Kele Ward, Trent Haaga, Ernesto Redarta


While working her nursing night shift, a sonsie single mother (Marie) intrusts her retarded, adolescent son (Gray) to the care of her boyfriend, a sordidly psychotic career criminal (Muskatell) who invites a bloated, crippled drug dealer (Stamp) and a pair of putrid prostitutes (Szychowski, Ward) to party at her residence. Neither they nor other lurking malfeasants (Lopez, Blumenthal, Redarta) are safe from a stealthy, resourceful murderer who’s observing Easter behind a leporine mask.


With repulsive prolongations and domestic disputes, Troma alumnus Ferrin stretches 25 minutes of story to occupy 90 minutes of running time forming his trashy, inane, admittedly fun farcical horror, which piques a lot of laughs but no scares for anyone beyond their pubertal years. Its comic crudity is as stupidly amusing as one could hope for.


His claustrophobic close-ups, zooms, full-figure and drifting shots (no few of which shamelessly blazon busty Marie’s considerable cleavage) are all framed with calculated carelessness, but Ferrin has a knack for capturing his players’ most unflatteringly, goofily humorous angles.


Most of this flick’s interiors are lit like begrimed bedrooms from which camgirls stream, and the lurid hues clothing Giuseppe Asaro’s shiteo beseem its sleazy cheese.


Jahad Ferif hacked Ferrin’s footage together with occasional flair, though this reviewer can’t readily tell how many of his overzealous cuts are imputable to ineptitude or imitation of B-schlock.


In adherence to Ferrin’s style, everyone onscreen overplays their one-dimensional roles by yards over the top to some risible effect. As the fat, flagitious felon, Muskatell seems lucky to swagger and fume through the movie without suffering cardiac arrest. Only Granny, a plumply precious rabbit cast as the pet of Gray’s peevish peabrain, performs naturally.


Synthesized noodlings and tacky, often funky prog rock courtesy of Goblinishly epigonic duo The Giallos Flame is crummily fun, like most else here.


Marie’s buxom mother alternates between indulgence and violent discipline while voicing minced oaths; the piggish pervert portrayed by Stamp is gleefully aroused by a chance to prey on a mentally disabled teenager; every exchange and murder is in some way funny.


True to his roots, Ferrin created a video that’s as embarrassingly edgy and intensely ugly as it is legitimately laughable. Every shot is shoddy, and all presagements patent. One predictable twist is explained with a fatuous flashback.


This is less like exploitation movies from the ’70s than how Xers and early Millennials would like to remember them. If you’ve an appetite for raunch and gore, and absolutely nothing better to do, it’s a tickling way to pass 1.5 of your overtly disposable hours.