![]() ![]() To support this assertion, one only needs to point to the song blaring from Dekker’s car. The goofiness appears unintentional, often veering dangerously close to cringey. The exchange is borderline comedic as they scroll through the police website looking for the appropriate crime to report. Super-helpful Steven ( Sean Whalen) offers to email the police. It’s no wonder half the town finds themselves pulled into her orbit, but it doesn’t stop with her. She’s the ultimate innocent, a babe in the woods. She can’t remember the word for “kill,” so she settles for “make dead.” Coffins become “dead boxes.” She calls 911 because she sees the number written on a Post-it.īobbi Sue Luther’s doe-eyed take on Princess is at once baffling and oddly perfect. The parameters of her memory loss are also perplexing. Our protagonist gets her uninspired moniker from a Barbie-esque doll she vaguely remembers called Princess Gemstone. The film’s absurdity is the only thing more captivating than its violence. But it’s difficult to view any of it as overindulgent because the film shines when heads are exploding, so why not capitalize on it? The stripped-down sets and lower budget only serve to enhance the violence everything feels more real in the desolate, struggling town. The movie revels in its depravity, slowing down to show off the terrific violence. Each gag is meticulously set up and filmed to maximize impact. We get entrails, slimy viscera, a knife to the side of the head, a severed face, and death by tire sealant. “BUT THE KILLS,” she shrieks from the mountaintops. The cast, combined with the slick violence, leaves the film feeling off-balance, almost underdone. This vast and impressive resume is likely why people like Lena Headey, Thomas Dekker, and Jonathon Schaech show up in small roles. Hall has effects and makeup credits on films like Vacancy and Superbad, and TV including Buffy the Vampire Slayer and Terminator: The Sarah Connor Chronicles. The amount - and quality - of murder sequences is unsurprising considering filmmaker Robert Hall’s pedigree. Laid to Rest is more concerned with getting us to the next kill, something that should be much more egregious than it actually is. Unfortunately, the flimsy plot and dry, one-dimensional characters make most of the film feel like an afterthought. ![]() Bodies pile up - many of them belonging to naked ladies - as Princess and her rag-tag group attempt to evade the chrome-faced killer. ![]() Her memory gone, the woman (nicknamed “Princess”) finds herself stranded in a poverty-stricken town, defenseless and totally reliant on the aid of strangers. But everything threatens to fall apart when one of his kidnap victims, a young woman from Miami, escapes. He’s got a massive knife, a fancy car - complete with vanity plates - and a vast collection of mutilated bodies. Things seem to be going well for ChromeSkull. He likes to kidnap and terrorize women, the ever-present camera recording his grotesque conquests. Laid to Rest follows ChromeSkull ( Nick Principe), a serial killer with a shiny silver mask and a camera mounted to his shoulder. But there’s a stunning duality to the first of writer/director Robert Hall’s ChromeSkull movies that begs to be dissected. The 2009 slasher strikes a fascinating balance its top-tier practical effects are at odds with its less-than-stellar script. It’s a ridiculous line delivered with bold conviction, and it’s one of many that populate the hyper-violent, absurdist world of Laid to Rest - a film that’s as goofy as it is gory. Taunt your foes with distraction and acrobatic feats before falling from the sky to deliver swift death.“I woke up in a dead box,” Princess says, earnest eyes wet for the camera. You must fight for your survival or you will be shredded into 8-bit guts. The Glitch Lord has captured our heroes and held them captive in a hellish world in the theme of a 1980’s synth combat arena. ![]()
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