For the fans of exploitation genre faire, and seeking the dirty grimy grindhouse elements, one needs to reference writer and director Ryan Nicholson, bringing bloody hands and grotesque mindset of delivering horrific images not only to the screen but saturation of the scenes too. Collar earned a delicious release on Unearthed Films, in which a city of dereliction of duty and caring, leaving a rotting corpse to fester with hideous vile results, highlighting the ugliness of society’s discarded individuals, which live among the shadows of life.

One of the main characters of this film, falls the towering figure Massive (Nick Principe (Laid to Rest [2009])), a demented giant, with abusive habits carrying over from his childhood, under the abusive guise of Catholicism and adding in autism, to narrow the view of his mental illness. His violence extends into an evil design, a backlash to his formative years. The way Nick portrays the lead role, not an easy task, a psychotic rampaging bull, with no lines to speak and just moans, groans, and growls. In fact, his entire performance, reminds one of Frankenstein [1931], and Boris Karloff’s stylization of a man, a creature, yet misunderstood, and very unpredictable as if society is having set behaviors for dealing each other always the same manner. Hence, the movie, shows, others as exploitative in their own right, such as Steven (Fred Levasseur) as a recorder of bum fights, encouraging them and not paying just taking what he wants to better his own rise to greatness. In addition, the abusive, raging, raping Massive character takes and abducts a rookie officer, Dana (Aidan Dee (Gutterballs 2: Balls Deep [2015])), who becomes his plaything, fitted with a collar and leash, becoming his sexual pet, a warped vision of affection. Presenting society as flawed as a funhouse mirror, with no remorse for those injures or denounce, only achieving a better level and position for them. The violence to Massive’s victims showcases an incredible display of anger in the form of disembowelments, much explicated decapitations, and truly broken individuals, meeting in some cases justified ends to their pathetic wretched lives. One scene, shows the crudeness of Massive’s personal hygiene attributes, and can only be matched by directors Doug Gerber and Caleb Pennypacker’s Crazy Murder [2014] for the level of shockingly insane behaviorisms.

While some compare Nicholson to Adam Ahlbrandt due to their equal forces of gore and sleazing dancing in a waltz raining blood, Ryan surpasses Adam, with more underground flicks, and his passion for special effects designs to awe the hardcore horror fans. Ryan, takes on the quest each time he assumes the directorial chair, to present slick and demented scenes of horror for the viewers salivate over like Pavlov’s dogs, using his production company Plotdigger Films, he strives to gut a budget and slice open the harden critics of the genre.

It seems as if Ryan, likes using pages out of Roger Corman’s playbook, in reference to using sets of other films in another project thereby minimizing costs and showing his uniqueness to capture more ways to horrify the audience, and the hint lies in the movie The Profane Exhibit (2013). The gore herein gives the horror fans, more than enough enjoyment, with dark dingy dirty girt exploding in endless joyous cascading waterfalls of violence, basking in the glow of true exploitative announce of “Come n’ Get It!” The direction of the production brings the horror straightforward to the fans, a rampaging impressive venture for the most dedicated fan of the genre vastly enjoy even for repeated viewings. The effects all practical and excused with precision, to the respect of the fans and the cinematography of a filthy conceptual design, and not the perceived CGI aftereffects, rather filming exactly what the lenses see before them on the set. Not many complaints, one understands the genre, style and sickening offensive thrills, except for a loose screenplay, that likely allows for improvisation when filming a limited budgeted production.

This movie definitely warrants a warning to the weak minded and uneasy stomachs, if you enjoy subtle horror and seek, a found footage venture, or some spooky specters, or even a run of the mill slashers, then this flick, is not intended for you. Ryan delivers a no boundaries flick, with his classic and legendary modern grindhouse filmmaking nastiness for the true gore-hounds and the dedicated niche market horror fans of exploitation.



  • A new leash on death

IMDb Rating: 3.9/10

Baron’s Rating: 4.0/10