Ever wondered how the Dead Body Man has become the Dead Body Man?
probably not, but this film tells you anyways.
Willie (Eddie Benevich)
was born on stage, while his mother, a stripper, did a performance. Mom
however wasn't too fond of her little boy, so she left him out in the
streets so his father could pick him up. Eventually, little Willie was
found by a crazed Vietnam veteran, who (literally) kicked him out
repeatedly, but Willie always came back, so eventually, the madman took
him in and brought him up, teaching him to always be on the lookout for
the gooks, and to it human flesh if the situation demands it ...
among other things.
Flash forward 17 years: Willie is caught stealing
beer, and is sent to a mental iinstitution run by Mr Wilson, an alcoholic
who is unable to come over his divorce ... and Willie takes a liking in
him right away as well as some of the other inmates, including Little
Hitler (Jason Senior) and Suzie Pickles, a pornstar with a monster in her
One day, when Mr Wilson is way too drunk to hand Willie his
medication, Willie decides to medicate himself ... and goes on a bad trip,
during which God reveals himself as the star (Debbie D) of a porn movie -
and God tells Willie to kill prostitutes. Thus, Willie invites two
prostitutes to the asylum for the other inmates to have fun with, and then
slaughters them. And with Mr Wilson once again out from too much alcohol,
the inmates help Willie to hide the bodies, and overcome the pimp who
comes looking for the girls.
Bad luck strikes when Willie learns that
the asylum is to be shut down by the IRS, but Willie figures a way out:
Why not turn the dead hookers and their pimp into hot dogs to sell at the
carnival? And this way, Willie and friends save the asylum. Then Willie
figures it's time for him to move on and do good ... and kill more
By and large, prequels just suck. Usually, they
just tell the same story as the film they are prequelling, but overload it
with biographical facts that don't really interest anybody.
though, Dead Body Man Chronicles is different, as (for the most
part) it boldly leaves the slasher-comedy genre behind to tell a
sugary-sweet Let's-save-our-asylum-story of the kind that has long
become a mainstay of kitsch-cinema. Thing is, writer/director Ryan
Cavalline populates his story with lunatics (including an intentionally
bad Hitler impersonator), prostitutes and porn stars, plus he misses no
opportunity to be as offensive as can be and piles up dead bodies just in
time for the finale.
And all this adds up to an enjoyably silly,
bizarre and gross comedy that's mean enough to either make you love it or
feel offended - your choice. I rather loved it, actually.