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It all starts with Noah (Chris Miraglia), Holly (Adele Crotty) and their baby being attacked by a creature in an Easter Bunny outfit - and Noah ends up brutally slaughtered and dismembered while Holly goes bad and the baby goes missing. Holly is sent to an asylum that's actually the front for a secret gouvernment lab experimenting on E.S.P. powers, with Natalia (Katie Hellman) being their best test subject - but she doesn't collaborate willingly. However, she eventually finds a lead to Holly's baby, so the doctor in charge of her, Karen (Elisa Fuentes), helps her to break out of the facility and try to find the baby. At the same time, several women go missing in town, and the sheriff (Jeremy Littlte) really doesn't seem to have a clue where to start looking - but fortunately ex-sheriff turned bounty hunter Mike (Michael Leo Centi) is on the job, and he soon picks up first clues of the Easter Bunny - at a time when the creature already terrorizes the city that is. Natalia, Karen, and Professor Byers (Todd Acton), whom they've brought for scientific support, soon track the baby down to the Wheelers (Joshua Anderson, Sharon Backos, M.K. Smith, Regis Pratt), a backwoods family of questionable morals and cannibalistic tendencies - and Natalia soon enough ends up kidnapped by them, as they seem to keep a harem ... for the Easter Bunny to ineminate, as the Bunny is actually demon, intent to open the portal to Hell. Of course, it's easy for Natalia with her E.S.P. powers to free herself and the other women the Wheelers keep captive, but keeping a demon from opening a portal, that might be a bit out of even her league ...

So ok, Easter Holocaust might not be the perfect film, as it suffers from a budget not up to the film's ambitions, and a script intent on throwing pretty much everything at the audience but the kitchen sink (and thus could have done with a few less narrative threads). But all that said, if you can forgive above, Easter Holocaust is at the same time a pretty fun ride, a film that clearly harks back to monster and slasher movies from the 1980s (down to plenty stilted oneliners), doesn't take itself too seriously (instead seems to pile on and on frequently for comical effect), and yet manages to tell a coherent story (within the lines of the genre immanent suspension of disbelief that is) and does deliver in the blood and guts department (much of it done practically, too). And what really shines through here is the love for the genre as such that has been put into all of this, a love that should be infectuous to at least all real genre fans and that makes this a very enjoyable watch, despite, heck maybe even because of some of above shortcomings.

review © by Mike Haberfelner

 

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