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In another part of town Mia (Wilma Elles, as Jade Ellis) is experiencing car trouble and soon finds the vehicle and herself stranded near the cabin. Coming along are maintenance man Bob (John Scuderi) and housekeeper Alicia (Malorie Glavan). Meanwhile married couple Sara Curry (Nicole Stark) and her husband Timothy (Kyle Clarke) have retreated back to the country to spent a romantic weekend at their remote luxury cabin.

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As Havoc breaks free from his chains and escapes into the densely forested region that the caves are in the soldiers embark on a perilous quest to contain the situation to the best of their ability. Angstadt) who the Echo para-military unit securing the caves simply refer to as Havoc. There she’s attacked by known mass murderer Prisoner AYO-886 (J.D. Platinum blonde Annabelle (Stormi Maya) follows clues and is rewarded with stacks of money until she reaches her destination point. Any day now we’re expecting Rene to helm that long awaited LETHAL Ladies derivate (one we’d very much would like to see) with roles for Forte, Seawood, Maya, and other assorted bosomy Perez babes.

Like Russ Meyer, Pete Walker, Andy Sidaris, and Jim Wynorski before him Rene Perez loves large breasted women, especially if they are platinum blondes.

This movie’s prerequisite ditzy blonde is Playboy Croatia and Venezuela Playmate (October, 2015) and Penthouse Pet of the Month (March, 2022) Stormi Maya (not sporting her usual aphro puff) who – in tradition of Alanna Forte and Elonda Seawood before her – gets to show off her impressive fake ass titties. A nice change of pace, all things considered.

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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.

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Plot : vacationers run afoul of escaped masked serial murderer.

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