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Nicole Stark, Wilma Elles, and Malorie Glavan (a poor man’s Melissa McCarthy) all are normally proportioned and Glavan is the rare plus size actress in Perez stock company. Rene Perez always stacks his movies with beautiful women and compared to the surrounding entries the women in Playing with Dolls: Havoc (2017) are not as pneumatically-enhanced as they usually are. In its most typical and standardized form there’s little that can go wrong, although that occasionally does happen as Dutch-Belgian slasher Intensive Care (1991) went on to prove so historically and catastrophically. Under any of the usual circumstances the slasher is the easiest of horror subgenres to produce and direct. After Playing with Dolls: Havoc the ongoing franchise was duly rebranded to the much shorter Havoc with the next sequel simply dubbed Cry Havoc (2019) arriving a scant two years later. None of the installments are particularly strong by any metric one chooses to employ and it’s anybody’s guess why Rene chose this to expand upon. Along with The Dead and the Damned (2011-2015) his Playing with Dolls (2015-2017) franchise has proven resilient despite its rampant banality and overall redundancy. Since debuting in 2010 Perez has become something of a successor to Albert Pyun as he churns out several micro budget epics every year. Rene Perez is a director with authorial intentions, dangerous enthusiasm, but rarely the means to realize his visions. It’s been a strange and confusing journey going from the barely there slashing of Playing with Dolls (2015) to the functional competence of Playing with Dolls: Bloodlust (2016) only to arrive at the utterly minimalist and brutally utilitarian Playing with Dolls: Havoc.

#STORMI MAYA PENTHOUSE PICS SERIAL#
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