• Home Grown Horrors Volume One (Vinegar Syndrome) Blu-ray Review



    Released by: Vinegar Syndrome
    Released on: April 22nd, 2020.
    Director: Jay Woelfel/Christopher Thies/Jack Snyder
    Cast: Nick Baldasare, Rick Kesler, Susan Pinsky, Norm Singer, Tim R. Morgan, Mike Magri, Charles Majka, Bob Harlow, Dori May Kelly, David Majka, Mike Coleman, Terry Comer, Carol Carlberg-Snyder, Paul Steger
    Year: 1988/1992/1988
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    Home Grown Horrors Volume One – Movie Review:

    Vinegar Syndrome gathers up a trio of films made between 1988 and 1992 outside of the studio system. Financed independently, these low budget marvels more than make up what they lack in polish with character and plenty of local flavor.

    Beyond Dream’s Door:

    The first film in the collection, Beyond Dream’s Door, was written and directed by Ohio filmmaker Jay Woelfel in 1988. The film won a few awards at the time when it was screened at a couple of different film festivals then in 1991 it was more or less unavailable until it came out on DVD via Cinema Epoch in 2006 only to go out of print again a short time later.

    The movie follows Ben Dobbs (Nick Baldasare who shows up in Brett Piper’s They Bite), a university student working his way through a psychology program and hoping to finish up his education and start his career. For the longest time, Ben hasn’t had any dreams – at least not any that he’s been able to recall – but lately that’s all been starting to change. Ben has recently started waking up after experiencing some horrifying nightmares that continue to get more and more unusual, some of which might relate to his deceased family members.

    While in class one day, Ben falls asleep and wakes up to find that he’s written ‘Beyond dreams door is where the horror lies’ on his notepad. In order to find out what exactly is happening to him, Ben approaches one of his professors, Dr. Noxx (Norm Singer). Soon enough, Noxx has found a similar case of psychosis, and the two of them set out to try and figure out how to stop Ben’s nightmares from coming back. What neither of them realize is that Ben’s dreams are actually opening a gateway between our physical world and a completely different plane of existence where the monsters he sees in his nightmares are all too real.

    Beyond Dream’s Door is far from perfect but it’s a really well made and interesting little horror film that exceeds its budgetary limitations thanks to some creative storytelling and some excellent camera work. As the lines between the two worlds start to blur and the storyline gets more complex, inattentive viewers might have a little trouble putting it all together but Woelfel leaves us enough clues during the first two thirds of the movie that it really isn’t as hard to put together as it might seem – simply pay attention to the color of the lighting gels that are used in a few key scenes throughout the film and it should all make sense.

    As creative as the movie is (look at it as a mix between A Nightmare On Elm Street and Phantasm with a nod or two to H. P. Lovecraft thrown in for good measure) it does stumble in one key area and that’s the acting department. Most of the cast members were first timers and those who weren’t seem to have been locals wrangled up to help out on the project and there are moments in here where that definitely shows. There are certainly independent films out there with far, far worse performances than the ones in here but the fact of the matter is that everything else is really well done here which just makes some of the lesser performances stand out all the more.

    If you’re able to look past some of the acting, however, and don’t mind some late eighties bad hair along with your dimension hoping horror, Beyond Dream’s Door is definitely worth a look. It’s a very ambitious film and while maybe it bites off a little bit more than it can ultimately chew, you’ve got to respect the filmmakers for trying, particularly when they get as close to making it happen as they do here.

    Winterbeast:

    Written and directed by Christopher Thies and released straight to video in 1992, Winterbeast is probably the best known film in this collection and for good reason – it’s a fucking masterpiece.

    Set in and around the wilds of mountainous Massachusetts, the film follows Ranger Bill Whitman (Tim Morgan), the man in charge of the area where people have recently started disappearing. A popular destination for tourists and hikers, Bill and his crew decide to investigate to try and figure out what’s going on – after all, he’s lost two men in just the last week. They poke around the area and uncover a giant old totem pole with a skeleton attached to it – and there’s no way that can be seen as a good sign.

    This puts them at odds with Dave Sheldon (Bob Harlow), the man in charge of The Wild Goose Lodge. He’s kind of like the Mayor in Jaws in that he absolutely does not want Bill and his team to shut things down, even if there is a monster of some sort out there tearing people to pieces. It’s fall festival time and he’s bound and determined to bring in as many of those tourist dollars as he can, after all, he’s got a plaid suit habit to support.

    Ranger Bill teams up with Charlie Perkins (Charlie Majka), a local shamanic type with a magic tooth and what looks to be a dildo (the dildo may or may not be magic, this isn’t addressed in the film), and hard drinking, nudie magazine loving Ranger Stillman (Mike Magri). Soon enough, a naked lady has been killed, a few supporting characters have been ripped apart by stop motion monsters and tourists shopping for Native American knickknacks who probably never agreed to appear in a low budget monster movie find themselves in a low budget monster movie. Before it’s all over, the truth about Sheldon’s motives come to light (in a scene that is kind of a musical and that has to be seen to be believed) and a guy will spend a LOT of time rolling down a hill.

    Winterbeast is seventy-six-minutes of B-movie bliss. Thies started work on the film in 1986, shelved it, then went back to it and finished principal photography in 1989, so if the movie feels a lot more like an eighties film than a nineties film, that’d be why. Shot mostly on 16mm but occasionally on 8mm stock, the movie may be uneven in terms of the quality of its cinematography but it is so consistently bizarre and filled with enough seriously WTF moments that you can’t help but love it.

    The acting? There is some acting in this movie, yes. Tim Morgan is sufficient as the hero, not the most charismatic guy to ever hit the screen but he is likeable enough and that matters a lot (just try not to pay too much attention to his moustache, which changes quite noticeably throughout the film!). Charlie Majka is amusing as the mystic type, despite his secret dildo, and Mike Magri is okay in his comic relief role. The real start of the show, however, is Bob Motherfuckin’ Harlow as Dave Sheldon. We don’t want to spoil the complete 180 that this movie does with his character in the second half of the film, but good God almighty does it ever come out of left field and does Harlow ever make it his own. You absolutely will not see this coming, but once it hits your eyeballs, you’ll never forget it.

    Winterbeast also features some amazingly ambitious stop motion effects work. Similar to Equinox, the effects might not always be completely convincing but just the ambition and effort that went into these sequences should be enough to win over any fan of low budget monster mayhem. The presence of the different monsters that highlight the picture may never be properly (or improperly, for that matter) explained but whenever they’re on screen, the movie is gold.

    Oh, and the imdb says that “the totem pole monster and the skeleton head that rips out of a man's stomach are both props taken from the Dokken music video 'Burning like a Flame'.” If you watch that video, around the three-minute mark, well, judge for yourself but it definitely looks to be correct.

    Note that Vinegar Syndrome provides the previously released version as well as the never before released workprint edit which uses the title It Came From Lone Peak.

    Fatal Exam:

    Directed by Jack Snyder and released in 1990, Fatal Exam is an atypical slasher in a lot of ways, though the setup isn’t really all that unique. A college professor who specializes in the supernatural tasks a half-dozen of his students -Nick (Mike Coleman), Roger (Terry Comer), Dana (Carol Carlberg-Snyder), Dave (Paul Steger) and a few others- to head out to an old secluded house, supposedly quite haunted, which was the site of a few grisly murders a few years back when Malcom Nostrand (Mike Suzor) killed his family on the premises.

    Upon their arrival, the group is definitely more interested in drinking, partying and goofing around than any sort of actual serious study of the home or its history. Of course, this being a horror move and all, soon enough some strange things start happening in the house which makes the students start take stories of the place’s hauntings a little more seriously than they initially thought that they’d have to. What first seems to be a series of practical jokes turns out to be anything but when someone or something clocked in a hooded black robe and wielding a scythe starts killing people off!

    Shot for peanuts in and around St. Louis, Missouri, this film is reasonably effective in the way that it blends the supernatural elements of its ghost story with the slasher elements made more apparent in the later part of the film. The movie doesn’t have a whole lot of atmosphere to start with, but some of the interiors in the old house are eerie enough and once the movie takes a pretty drastic shift and works in some of the house’s strange history, the set dressing gets more creative and genuinely weird (genuinely weird being a very good thing, in case that wasn’t clear).

    That said, this movie clocks in at just six-minutes shy of a full two-hours, and maybe not so surprisingly, it has some pacing issues. A lot of the buildup goes on too long and because it does, loses some of its effectiveness. Snyder and company could and should have trimmed the film and improved its pace, as there’s really only eighty-minutes of story here tops. The film focuses on unnecessary details for way too long way too frequently and that winds up doing the picture no favors whatsoever. That said, there is a Doris Wishman-esque quality to some of this, and you can have a good time if you let yourself get lost in the mundane minutia that the film spends so much time with during its ridiculously bloated running time. If you appreciate that sort of otherworldly approach to pacing, Fatal Exam is probably going to be right up your alley (personally I had quite a bit of fun with it for this reason) – but if you want things to actually happen, the first three-quarters of this movie will be an endurance test.

    If you can get past the pacing, however, there are some neat ideas here. The score from Carl Leta is a standout, it’s pretty awesome and if it doesn’t always suit the on-screen action, it doesn’t matter, because it is that good. The villain in the reaper getup is a nice touch, and once that character starts to appear in the film it does become a lot more watchable. There isn’t as much on screen slashing and mayhem as horror fans are probably going to want, but some of the set design featured in the latter half of the movie is neat.

    Home Grown Horrors Volume One – Blu-ray Review:

    Beyond Dream's Door is presented “newly scanned and restored in 2k from its 16mm original camera negative (with tape inserts)” and in its original aspect ratio of 1.33.1. The feature takes up 25.4GBs on the 50GB disc and it looks quite strong. Of course, it’s a grainy looking movie but that heavy grain resolves properly and always looks nice and natural. Colors are a lot stronger here than they were on the previous DVD release and detail and depth are way, way better as well. Skin tones look good and there are no issues with any obvious noise reduction, edge enhancement or compression artifacts. Thankfully when the movie switches over to the tape-sourced footage the drop in quality isn’t as bad as you might expect it to be. It’s noticeable but it doesn’t take you out of the film.

    Winterbeast arrives “newly scanned and restored in 2k from its original 16mm and Super 8mm film elements” framed properly at 1.33.1 with the seventy-six-minute feature taking up 23GBs on the 50GB disc. While it’s obvious whenever the feature switches from 16mm to 8mm source material, the transfer is, overall, very strong considering the nature of the production. Some print damage is noticeable and grain can get really heavy in spots but this always looks like film, which is the way that it should be. Detail is sometimes very impressive, sometimes a little less than that – it varies from scene to scene, but again, this was shot on weekends over years with different cameras and different film stock, so some inconsistencies need to be expected. Overall though, this looks really good when you consider the film’s micro-budget origins and scattershot production history.

    Fatal Exam is presented “newly scanned and restored in 2k from its 16mm original camera negative” and is framed at 1.85.1 taking up 33.9GBs on the 50GB disc. A few vertical scratches are noticeable now and then and some minor print damage shows up throughout but overall the image is pretty stable. Colors look really good here and detail is quite strong. There’s a fair amount of depth to some scenes, although those that take place in darker interiors can be less impressive than those that take place in lighter, brighter conditions. Skin tones look good and black levels are nice and deep. No problems with any noise reduction or digital anomalies to report here, it looks quite solid.

    As far as the audio goes, Beyond Dreams Door gets a 24-bit DTS-HD 5.1 Master Audio track in the film’s native English with optional subtitles provided in English only. Dialogue can be a bit flat in spots and the surround sound activity concentrates more on the score than anything else but overall this sounds fine. The score has some nice depth to it and the levels are well-balanced.

    Winterbeast gets a 24-bit DTS-HD 2.0 Mono track in English and a Dolby Digital 2.0 option as well with optional English subtitles. The audio here can be a bit rough, which makes sense given the way that the movie was shot, so those subtitles do come in handy at times. There’s a bit of hiss and some occasional sibilance but the levels are usually balanced pretty well and the film’s awesome synth score sounds pretty strong here.

    Fatal Exam also gets a 24-bit DTS-HD 2.0 Mono track and a Dolby Digital 2.0 option as well, in English with English subtitles. Quality on this track is fine for what it is. Again, some scenes do sound a little bit flat but the levels are fine and the dialogue generally stays pretty clean and easy to follow.

    Extras are laid out across the three discs in the set as follows:

    Beyond Dream’s Door:

    New extras for Beyond Dream's Door start off with a brand new group commentary track with writer/director/composer Jay Woelfel, cinematographer and associate producer Scott Spears, actor Nick Baldasare and actor Rick Kesler. They cover some of the more dated aspects of the film, like the landline featured in the opening scene, the use of nudity early in the film, locations that were used for the picture, some of the costume work that was done for the picture, shooting the film over thirty-eight days, shooting pickups later, getting the film finished quickly in order to get it to a film festival, how the movie features over 1600 edits and the use of red and blue gels in certain scenes. They also cover how a specific scene in the movie was taken from one of Woelfel's early short films, the influence of Japanese comic books on the film, the reveal of the monsters in the film's finale, details on some of the cast and crew that worked on the picture, creating the monsters featured in the picture, having to do multiple takes with the monster props, a fun 'cameo' of sorts from Woelfel's father and loads more.

    The disc also includes a brand new commentary track with actor Nick Baldasare moderated by film enthusiast/reviewer Dave Parker (who is up front about not having anything to do with the movie itself). Baldasare talks about the phone motif used in the film, the significance of his scar in the movie, how Darby Vasbinder was brought on board to add some nudity and make the film more marketable, how Baldasare wound up in the film and how he personally related to the character he played in the picture, having to do a lot of screaming in the film, getting along with his cast members, what it was like on the shoot and how the back problems he was having threw a wrench into the works, trying to channel the physical pain he was feeling into his performance, why fans tend to appreciate regional horror films, Baldasare's thoughts on Jay Woelfel's work directing and scoring the film and plenty of other details about Baldasare's experiences on this picture and his career in general.

    Also new to this release is Where Horror Lies, which is a "brand new extended making-of documentary featuring interviews with the cast and crew." Here, over forty-one minutes, we hear from Woelfel, Scott Spears, Dyrk Ashton, Rick Kesler and Nick Baldasare. Here we learn about Woelfel's schooling, getting the financing for a feature, trying to option some Ray Bradbury stuff, changing the scripts for Woelfel's shorts into a feature, going to Cannes and trying to find distribution, budgetary issues, locations, shooting on film instead of video, effects work, spicing up the film to make it more marketable, and their thought on the project overall.

    There are also a bunch of archival extras here, including a commentary with writer/director Jay Woelfel. He speaks about where his inspiration for the movie came from, how he created certain scenes, where some of the material was shot and about the various incarnations that the movie has existed in. A second archival commentary gathers up a few of the cast members from the film and this group discussion proves to be moderately interesting as it covers a different side of the production than the one covered by Jay Woelfel. They talk about working with the director and with each other and they speak about what they liked and didn’t like about the movie and working on the movie – it’s all fairly generalized but it definitely does a fine job of getting their stories across.

    If that weren’t enough, there are also three separate featurettes that cover the history and the making of the film. Behind Dream's Door is a thirty-four-minute documentary that explores the making of the full length version of the film with interviews and behind the scenes footage galore. The six-minute compilation of blooper and behind the scenes footage, as well as a segment called Getting Monstered which, at six-minutes, gives us a look at the effects used in the movie (there’s some legitimately great footage in here).

    Also look for deleted scenes, five-minutes of special effects test footage, an eleven-minute montage of alternate footage that was shot but not used in the final version of the movie and four-minutes’ worth of local news coverage footage that was broadcast in and around the area of Ohio that the movie was made in.

    Two deleted scenes - Sewer Escape Scene and The Phone Booth - are also provided, as are the original and re-release trailers for the feature.

    If you keep digging, you'll find a section titled 'Additional Extras' that contains the original short film version of Beyond Dream's Door from 1983. This runs twenty-one-minutes and it's interesting to see where the similarities are between this and the feature version, and just as importantly, where the two versions differ. This comes with an optional commentary from the director as well as an eight-minute behind the scenes featurette and just over four-mintues of raw footage.

    Vinegar Syndrome also offer up At The Door Of Darkness, an eight-minutes short film about a man's unusual behavior at home, again with an optional commentary. Come To Me Softly is another short film, this one running eight-minutes. This is available a commentary track and an interview with Rick Kesler that runs just under two-minutes.

    Winterbeast:

    Extras start off with a brand new commentary track with producer Mark Frizzell, moderated by Brad Henderson. They start by talking about the 'Frankenstein nature' of the production, having to use both 16mm and 8mm film stock, building sets for the movie, the film's infamous effects set pieces and how those were handled, trying to get the film out there and get it seen by people, the editing process, assembling some of the props featured in the film, the film's enduring cult following, why the milk carton shows up at various scenes, intentionally putting the dildo in the movie as a gag (it was cut in and the actor's didn't even know it was there), how a picture of Tura Satana wound up in the movie, scenes that Frizzell likes versus some that he doesn't, having to shoot on location with people who weren't involved in the production being around, budgetary restraints, having to improvise during the making of the movie, changes that he made during the editing process, the film's home video release history and plenty more. It's a pretty interesting talk with a lot of good information in it.

    Up next is an archival commentary track with director Christopher Thies, producer Mark Frizzell and cinematographer Craig Mathieson. It's a pretty busy track with all three of the participants finding plenty to see as they look back on the making of the movie. They cover the music used in the opening credits, how and why some of the actors came to appear in the film, having to keep certain performers in frame to make the movie work, Thies' experience making super 8 movies as a kid and how some of the players have sort of disappeared over the years. They cover some of the Massachusetts and New Hampshire locations used in the film, what was shot on location compared to what was shot in a studio, little gags that are noticeable in the movie, how one actor's height happens to change from shot to shot in a scene, what shots were done with a dolly, using the roof of a car to mount the camera, using a swing set to rig the climbing gear, some of the makeup effects used in the picture, using what was available during the shoot because they didn't really have any money and loads more. This covers enough ground that isn’t touched on in the other track to make it equally worthwhile.

    From there, dig into It Came from Lone Peak, which is an early, unfinished workprint version of Winterbeast. It's sourced from the 16mmm source and was never fully mixed, and as such, when you watch it there are bits and pieces where there's nothing audible on the soundtrack. The opening credits are completely different here (they're actually much cooler than the video generated ones used in the feature presentation), some of the music used in this version is different as well. All of the 8mm footage is missing from this version too. It's a pretty interesting variant to see though, and a great inclusion on the disc. It's presented in 1.33.1 and in AVC encoded 1080p high definition with the feature given 19GBs of space. It features 24-bit DTS-HD 2.0 Mono English language audio. There are no subtitles provided for this version.

    Sweat & Persistence is a new interview with producer Mark Frizzell that runs twenty-eight-minutes. He covers the influence of Ray Harryhausen, making home movies as a kid and learning by doing it on 8mm and how he was obsessed with it as a kid in the sixties and early seventies. He also talks about finding materials at work and being able to use them in his movies, getting some cheap studio space to work in, connecting with Thies and then, of course, collaborating with him on the feature. He then talks about getting the production made, how and why the stop motion footage wound up in the movie, his own ability to work fast, what it was like actually filming the production, the cast, the film's never-ending post production issues and more.

    Actor Charles Majka is up next in the eleven-minute I Saw It In A Dream featurette. He talks about meeting Mark Frizzell and getting involved in the film, what it was like on set, what it was like being a first time actor on the shoot, his feelings on low budget filmmaking, working with director Thies, the legacy of Winterbeast and other related topics.

    My First Career interviews actor David Majka for fourteen-minutes. He talks about connecting with Mark and getting involved in filmmaking through that connection, what everyone did on set during the shoot, meeting and working with Thies, the different jobs he was responsible for, the film's legacy and more. Majka earns some bonus points for wearing a very comfy looking wool knit cap during the entire interview.

    Actress Dori May Kelly us up next in an interview entitled So Bad, It’s Good which clocks in at ten-minutes. She talks about how she was just starting out when she got the gig on Winterbeast, meeting and working with Frizzell and Thies and how approachable they were, what it was like on set, what the production schedule was like, some of the work that she did on set off camera, how she wasn't always available for some of the pickups due to doing live theater, getting along with the rest of the cast members and how she feels about the movie years later.

    He Wears Sunglasses at Night interviews actor Mike Magri for fourteen-minutes. He gives us some background on his career in acting and then goes on to talk about working in and around the Boston area, going to school and doing plays in Providence and then auditioning for Winterbeast. He then goes on to talk about his experiences on the set, the film's erratic schedule, working with Thies, Frizzell and the other cast members, differences between doing live theater versus film work, the film's release history and his thoughts on the project overall.

    Filmmaker Simon Barrett spends nineteen-minutes talking about the movie in the A Movie For Filmmakers featurette. He talks about finding the movie in a video store in Vermont and going into it completely blind, his thoughts on the 'plot' of Winterbeast, what he appreciates about the movie as a filmmaker himself, the effects work, what appeals to him personally about the movie, the inspiration that he takes from the film, coming to monster movies later in life than a lot of other genre fans do, struggles he's encountered in his own career and how they relate to what the guys behind Winterbeast dealt with and plenty of other related subjects.

    Oh, Dear, What can the Matter Be? is a twenty-minute archival making-of documentary with Frizzell and Thies basically hosting it. This piece covers a lot of what's already in the commentary tracks and other interviews BUT you get the big plus here of some great behind the scenes footage, archival clips and photographs and other similar material. It's pretty great.

    Thirteen-minutes of archival deleted scenes are also included on the disc, which are a lot of fun to watch, especially if you enjoyed the feature. We get to see Bill hit on a girl he can't remember the name of, more footage of the female hikers, shots of the female ranger running from the monster in the woods, some interesting scenes of extra dialogue, some great footage of the monster fighting with our two heroes towards the end of the movie and other assorted bits and pieces.

    A four-minute archival audio interview with composer Michael Perilstein covers how he scored a few other movies aside from this one (Hollywood Chainsaw Hookers and Deadly Spawn for example) and why some of the music in Winterbeast is repeated over and over. Perilstein's got a quirky sense of humor and that definitely comes through here.

    Last but not least, we get twelve-minutes of archival ‘soap opera’ footage. See, late in the production the producers used a TV crew to shoot some additional footage on video to be used in the film but once they watched it, they didn't like it and shelved it, only to then cut it into a 'soap opera version' of the movie. Frizzell and Thies introduce some of the footage which is pretty terrible but definitely amusing to see.

    Fatal Exam:

    The main extra on the disc is a group commentary track with director Jack Snyder, composer Carl Leta, SFX man William Crawford and actors Terry Comer, Mike Coleman and Dave Mayer. Maybe not surprisingly, Snyder takes the lead on this and keeps the rest of the participants engaged in the talk. As the movie plays out, we get a reasonably scene specific talk with periodic segues into different bits of history related to the picture and the participants' various careers. We cover everything from where the watch came from in the opening scene to how the different players came on board to work on the movie. We learn about the locations that were used for the movie, shooting the film on 16mm, how Snyder didn't so much cast the film as simply ask people he knew to appear in the movie, putting a sun dial in the movie because it was cool, how some scenes in the movie definitely work better than other, how the film was 'Frankensteined together' due to the fact that so many cast and crew members wore multiple hats during its making, how White-Out doesn't always work so well on a mannequin head, why some of the film's framing is as wonky as it is, why an actor's hair changes during the shoot and a whole lot more. These guys are clearly having a lot of fun strolling down memory lane with this track, it's pretty entertaining.

    Also included on this third disc is a forty-eight-minute featurette entitled Fatal Examination, made up primarily of cast and crew interviews (some of which were, quite understandably, conducted via zoom due to Covid-19 issues). Appearing on camera here are writer/director Jack Snyder, actor Mike Coleman, actor Terry Comer, Carol Carlberg-Snyder (aka Carol Fitzgerald Carberg), Dave Mayer and William Crawford. Subjects covered in the documentary include Snyder's short film work and how he decided to make a 16mm feature based on that experience, how the cast and crew all got together to work on the project in the first place, using the sets and props to help build the story (rather than the other way around!), how Terry and Mike really got along on set and played off of each other, the cameras that were used for the shoot, Snyder's being influenced by John Carpenter, how Snyder feels that the script really needed a few more revisions than it got, the use of humor in the picture, foley and effects work, the film's ultra-low budget, staging some of the film's more unusual set pieces and a whole lot more. This is a really fun and interesting look back at the making of the movie, definitely worth watching if you enjoyed the feature.

    All three discs in the set also include menus and chapter selection options.

    As to the packaging, reversible cover sleeve art is also provided for each of the three films in this collection.

    Home Grown Horrors Volume One – The Final Word:

    Vinegar Syndrome’s Blu-ray release of Home Grown Horrors Volume One is, in a word, excellent. All three of the films in this collection are sure to appeal to those who appreciate low budget, regional horror pictures with each feature presented with a whole lot of obvious love and care. The presentations are about as good as they’re going to get and the extra features are as plentiful as they are interesting, but the movies themselves really are a whole lot of fun. Bring on volume two!

    Click on the images below for full sized Home Grown Horrors Volume One Blu-ray screen caps!