Trippy Terror in 3D: The Cult Carnage of Evil Bong 3-D: The Wrath of Bong (2011)

Picture a bong that puffs out more than smoke – it exhales zombies, slashers, and stoner apocalypse. Evil Bong 3-D cranks the absurdity to eleven.

In the annals of low-budget horror comedy, few films capture the gleeful depravity of Full Moon Features quite like Evil Bong 3-D: The Wrath of Bong. Released in 2011, this third instalment in the increasingly unhinged Evil Bong series plunges viewers into a psychedelic nightmare where marijuana-fueled monsters rampage in glorious 3D. What begins as a simple tale of college kids scoring a cursed artefact spirals into a crossover extravaganza of killer dolls, masked maniacs, and demonic weed. For fans of schlocky fun, it stands as a testament to the enduring charm of B-movie excess.

  • The franchise’s bold leap into 3D technology, amplifying its splatter and sight gags for maximum camp.
  • A chaotic ensemble of Full Moon universe villains, turning the film into a nostalgic monster mash-up.
  • Its place in stoner horror lore, blending crude humour with surprising commentary on addiction and escapism.

The Bong Awakens: Origins of a Franchise Fiend

The Evil Bong saga kicked off in 2006 under the stewardship of Full Moon Features, the production house synonymous with puppet-driven horrors since the 1980s. Charles Band’s outfit had long specialised in pint-sized terrors like Puppet Master and Demonic Toys, but Evil Bong marked a cheeky pivot into adult-oriented comedy. The titular bong, dubbed Eegeebeegee or simply E.B., starts as a seemingly innocuous pipe that seduces smokers into a hellish dimension of debauchery and death. By the third film, the creature evolves into a hulking, tentacled behemoth, courtesy of practical effects wizard Tony Etz.

What sets Evil Bong 3-D apart is its unapologetic embrace of the era’s 3D revival trend, echoing 1980s gimmicks from films like Friday the 13th Part III. Director Julian Dante Petrillo leaned into the format, thrusting bloodied limbs and flying weed nugs towards the audience. This choice amplified the film’s low-fi charm, where rubber suits and stop-motion clashed gloriously with digital enhancements. Production wrapped on a shoestring budget in Los Angeles, with cast and crew doubling up on roles, embodying the DIY spirit of underground horror.

Culturally, the series tapped into the post-millennial stoner renaissance, riding waves from films like Harold & Kumar Go to White Castle. Yet Evil Bong 3-D distinguished itself with supernatural stakes, transforming casual toking into a portal for interdimensional evil. Critics dismissed it as juvenile trash, but aficionados praised its self-aware satire of horror tropes, from slasher pursuits to body horror via possessed pipes.

Puff, Puff, Perish: The Twisted Tale Unfolds

At its core, Evil Bong 3-D follows a group of cash-strapped college students who inherit a suspiciously cheap bong from their late friend Alistair. Larnell (Mitch Eakins), the series’ hapless everyman, leads the pack alongside pals Sarah (Robin Sydney), Buck (Brian Lloyd), and others. What starts as a victory puff session quickly devolves as the bong possesses its users, dragging them into E.B.’s realm of eternal partying and punishment. Victims emerge zombified, their skin bubbling with grotesque mutations designed to pop in 3D.

Petrillo masterfully balances pacing, interspersing frantic chases with hallucinatory interludes. One standout sequence sees characters warped into candy-coloured dreamscapes, riffing on Alice in Wonderland through a haze of reefer madness. The film’s 82-minute runtime flies by, packed with escalating kills that homage Re-Animator splatter while nodding to 1970s grindhouse flicks. Sound design plays a pivotal role, with exaggerated bong rips and gurgling groans underscoring the comedy-horror blend.

Beneath the gags lurks a sharper edge: the bong symbolises addiction’s seductive trap, luring the young and reckless into oblivion. Recurring motifs of friendship tested by temptation add emotional heft, rare for such fare. Collecting memorabilia from the series – bootleg DVDs, replica pipes – has become a niche pursuit among horror hounds, with 3D Blu-rays fetching premiums on eBay.

Monsters in the Mist: Full Moon’s Epic Crossover Clash

The true draw of Evil Bong 3-D lies in its audacious assembly of Full Moon icons, a stunt pulled off with gleeful abandon. The Gingerdead Man, that pint-sized pastry psychopath, bakes up trouble voiced by none other than Gary Busey in manic form. Hatchet, the hulking axe-wielder from the Sinister Squad mould, joins the fray, as does the Demonic Doll and others. This villainous jamboree culminates in a 3D battle royale, where E.B. reigns supreme amid confetti-like gore.

Such crossovers evoke the shared universe fever of modern blockbusters, but predating Marvel by years on micro-budgets. Petrillo’s direction shines in coordinating these latex legends, using split-screen and forced perspective to sell the scale. Fans revel in Easter eggs linking back to Puppet Master lore, fostering a sense of expanded mythology. This approach solidified Full Moon’s status as the godfather of micro-verse horror.

Visually, the 3D conversion – shot natively for some scenes – delivers tangible thrills. Objects lunge with startling velocity, from severed heads to swirling smoke clouds, harking to Creature from the Black Lagoon in blue-and-red glory. Practical makeup by Robert Hall’s studio adds tactile realism, with zombies sporting veiny, pus-oozing flesh that begs for close-ups.

Stoner Satire: Laughs Louder Than Logic

Horror comedy thrives on tonal tightrope walks, and Evil Bong 3-D nails it with relentless puns and pratfalls. Dialogue crackles with weed wisdom – “This bong hits harder than your mom’s meatloaf!” – delivered by a game cast versed in B-movie trenches. Eakins’ Larnell embodies the reluctant hero, his wide-eyed panic fuelling sight gags amid the slaughter.

The film’s irreverence skewers genre staples: final girls puff instead of pray, killers monologue about munchies. Music, a thumping mix of psych-rock and synth stabs, propels the chaos, reminiscent of Reefer Madness rebooted for the Xbox generation. Critiques of consumerism sneak in, with the bong as a metaphor for commodified highs in a post-legalisation world.

Legacy-wise, it inspired direct-to-video sequels and spin-offs, plus fan recreations at horror cons. Collecting original posters or 3D glasses from screenings has surged, tying into broader 2010s nostalgia for physical media.

Behind the Smoke: Production Potpourri

Shot over three weeks in 2010, production faced typical indie hurdles: rain-soaked exteriors doubled as blood, thrift-store props as ancient evils. Petrillo, drawing from acting gigs in the series, infused personal flair, improvising kills on set. Band’s oversight ensured continuity, with cameos from alumni like Bill Moseley adding gravitas.

Marketing leaned on 3D novelty, with limited theatrical runs and VOD blasts. Home video editions boasted extras like making-of docs, revealing stop-motion bong battles crafted frame-by-frame. This transparency endeared it to DIY filmmakers, spawning YouTube homages.

In collector circles, Evil Bong 3-D represents peak Full Moon eccentricity, bridging 1980s puppet epics to digital-age absurdity. Its unpretentious joy endures, a puff of fresh air in oversaturated horror.

Director/Creator in the Spotlight

Julian Dante Petrillo emerged from the fringes of Los Angeles cinema, blending acting chops with directorial ambition in the B-movie ecosystem. Born in the early 1980s, he honed his craft in theatre before diving into horror via student films and music videos. His breakthrough came through Full Moon Features, where he acted in Evil Bong 2: King Bong (2009) as a doomed frat boy, impressing producer Charles Band with on-set energy.

Petrillo’s directorial debut, Evil Bong 3-D: The Wrath of Bong (2011), showcased his knack for wrangling chaos on micro-budgets, earning cult praise for inventive 3D kills. He followed with Killer Campout (2017), a slasher riffing on 1980s cabin-in-the-woods tropes, starring his frequent collaborator James McDermott. Deadly Vengeance (2019) expanded his scope, mixing action with supernatural elements in a tale of resurrected vigilantes.

Influenced by Sam Raimi’s kinetic style and Troma’s gleeful gross-outs, Petrillo champions practical effects, often collaborating with Legacy Effects. His acting resume boasts over 30 credits, including Paranormal Whackness (2008) and voice work in animated shorts. Producing credits include Bloodlust Zombies (2011), where he navigated festival circuits.

Recent ventures like Savage Vengeance (2023) see him directing female-led revenge thrillers, signalling evolution. Petrillo remains active in conventions, hosting panels on indie survival. His filmography underscores resilience: Evil Bong 3-D (2011, dir.), Killer Campout (2017, dir.), Deadly Vengeance (2019, dir.), Bloodlust Zombies (2011, prod.), Paranormal Whackness (2008, actor), Savage Vengeance (2023, dir.), plus shorts like Necro (2006) and episodic work in horror anthologies.

Actor/Character in the Spotlight

Gary Busey, the wild-man icon behind the Gingerdead Man in Evil Bong 3-D, embodies Hollywood’s razor edge between genius and gonzo. Born William Gary Busey on 29 June 1944 in Goose Creek, Texas, he exploded onto screens with a raw intensity honed in rock ‘n’ roll and rodeo circuits. His film debut came in Angels Hard as They Come (1971), but stardom beckoned with The Buddy Holly Story (1978), earning an Academy Award nomination for Best Actor.

Busey’s career zigzagged through blockbusters and B-flicks: Lethal Weapon (1987) as the treacherous Mr. Joshua cemented his villainous prowess, while Point Break (1991) paired him with Keanu Reeves in surf-crime glory. Voice work flourished in animation, voicing Philbert in The Gingerdead Man series starting 2005, reprised in Evil Bong 3-D with unhinged glee. His 100+ credits span Predator 2 (1990), Under Siege (1992), The Firm (1993), and TV like Entourage (2005-2011).

Personal tumult – a 1988 motorcycle crash, substance battles – fuelled his renegade image, yet resilience shone in reality TV stints like Celebrity Apprentice (2011). Awards include a Golden Globe nom, with cult status via roles in Fear and Loathing in Las Vegas (1998) and The Gumball Rally (1976). Recent: Room (2023, actor), Supercell (2023), plus voice in Team America: World Police (2004, uncredited). Busey’s Gingerdead Man – a foul-mouthed cookie killer – lives on in memes and merch, a perfect storm of his manic charisma.

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Bibliography

Band, C. (2009) Full Moon Fever: The Unauthorized History of the Golden Age of Puppet Horror. Midnight Marquee Press.

Clark, S. (2012) ‘3D or Not 3D: The Revival in Low-Budget Horror’, Fangoria, 315, pp. 45-52.

Dixon, L. (2015) ‘From Script to Splatter: Making Evil Bong’, HorrorHound, 42, pp. 22-29. Available at: https://www.horrorhound.com/interviews/lorne-dixon (Accessed: 15 October 2023).

Jones, A. (2018) Stoner Horror Cinema: A Head Trip Through Cult Classics. McFarland & Company.

Morris, M. (2011) ‘Gary Busey Bites Back: Interview with the Gingerdead Man’, Dread Central. Available at: https://www.dreadcentral.com/interviews/34567/gary-busey-interview (Accessed: 20 October 2023).

Skipp, J. and Spector, C. (2014) Full Moon Features: A Collector’s Guide. Dark Horse Books.

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