Angstadt) sending the druglord into hiding with his girlfriend Malorie (Malorie Glavan). In the resulting gunfight K manages to dispose of Torch (Reese Austyn) and Tyrell’s bodyguard (J.D. He draws the ire of Tyrell by extracting helpless platinum blonde Tanya (Stormi Maya) from their heavily guarded compound. With the help of Justice Radio host Dan Forthright (Daniel Baldwin) K has been able to track down Tyrell and his gang. For the past several years K has been delivering money to the mailbox of Ana (Eva Hamilton) and her wheelchair using daughter Isabel (Leia Perez). Years ago a shootout with druglord Tyrell (Richard Tyson) resulted in a number of civilian casualties and property damage, something which he greatly regretted and he has been working to make amends for ever since. In an act of penance rogue cop K (Robert Kovacs, as Robert Bronzi) has taken to the streets of an unspecified California town and vowed to rid it of its criminal element be they drugdealers, human traffickers, and other assorted undesirables. It seems that Perez has found a muse in Kovacs (who subsequently took up the Robert Bronzi alias) as he returned in future Perez features. It’s uncanny how close of an approximation Kovacs is to the late Bronson, and the resemblance is striking, even if he might not be half the actor Bronson was back in the day. The greatest asset to the production is Hungarian actor Robert Kovacs who has the Bronson style and mannerisms down to a T. The premise is as basic as these things come, and the main cast is all but four people with only a handful of extras. Death Kiss is minimalist in every respect. In other words, Death Kiss is an old-fashioned vigilante justice action-thriller. Death Kiss’ most obvious forebear is the Michael Winner directed Charles Bronson actioner Death Wish (1974) and there’s a fair bit of the Clint Eastwood western High Plains Drifter (1973) to even things out. Written, photographed, directed, and scored by Rene Perez Death Kiss oozes with that grime retro aesthetic of urban decay and sparse production design that defined the best, or most memorable, of 70s exploitation. Death Kiss is, for all intents and purposes, the best Rene Perez production thus far.

With an average of two-to-four productions per year Perez dedicated the first half of 2018 to paying tribute to his favorite movies, namely The Punisher (1989, 2004) and Death Wish (1974, 2018) with The Punished (2018) and Death Kiss (2018), respectively. It genuinely makes you wish Perez would branch out of horror a little and try out different genres. A benefit of sort is that Little Red Riding Hood (2016) appears to be the last of his European fairytale adaptations. Not only did he helm the lucrative The Dead and the Damned (2011-2015) and Playing with Dolls (2015-2017) franchises, he also has started paying homage to classic titles that were influential on his own work. In the eight years separating War Machine (2010) and Death Kiss (2018) there has been exponential evolution in the work of California writer-director Rene Perez.

Plot: vigilante cop purges town of criminals and other undesirables.

Stormi maya penthouse