Low Budget Pictures, the company and family, was established many moons ago by writer/director Chris Seaver, a self-styled Troma fanatic who started making his own movies while still in grade school. Over the years, Seaver and company have given us the likes of “Mulva: Zombie Asskicker”, “Filthy McNasty” and “Anal Paprika”. Like his New York mentors, Seaver’s films are offered with ample violence and scatological humor, lacking (usually) only in gratuitous nudity. The enjoyment you find in his films generally rely on how entertaining you find fart and s**t jokes.

But the really interesting thing about the Low Budget Pictures canon is that you can see their films evolving over time. This isn’t to say that they’re getting much better technically—lighting and sound are often problems—or that “the Seavage” (as he’s known in the microbudget community) is getting more mature as he ventures further into his twenties (nor would I wish that upon him).

Rather, the more recent LBP movies are less Troma-esque and more distinctly residing in the world that Seaver has created for them. In the LBP world, humans co-habitat with misogynistic hip-hop, time-traveling gorillas named “Teenape”. There are hideous, sexually-repressed demons named “Phil” who pop up at will. A buck-toothed, hunchback lesbian is just another high school freak to be ridiculed by the elite, very white boys can play rock-obsessed Native Americans, and pictures of John Stamos can appear without warning. And since Seaver always seems to play by the rules that he sets down for his world—and the rules are there if you look for them—none of this seems even remotely out of place.

In the latest LBP offering, “Heather and Puggly Drop a Deuce”, the sisters—one the aforementioned hunchback lesbian and the other an angry little girl with irritable bowel syndrome (or so it seems from the amount of time we spend on the john with her)—find themselves up against a deadly plot from outer space, which has taken the form of a woman who seems to be seducing Puggly. Along the way, penises are removed, throats are slashed, musical interludes are had, and pictures of John Stamos appear without warning.

There are some laugh-out-loud hilarious moments in “H&PDD” (“Heather, you’ve s**t upon every vagina that has ever monologued its way into my life!”), and some truly head-scratching moments as well—Rochon playing the sisters’ mother, complete with her own buck teeth and a penchant for cooking with her own menstrual blood—but it all works on its own level. Again, if you like this sort of thing, you’ll love this. So if that’s the case, consider this highly recommended.

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