Although I laughed a lot while watching Winners Tape All: The Henderson Brothers Story, I cannot recommend it outright.

No, first you have to instinctively know the meaning of the acronym “SOV” — without Googling, without pausing to think. For those whose gifted with a synapse that instantly retrieves “shot on video,” then yes, unequivocally I recommend this inspired mockumentary. Viewers familiar with those negative-budget, positive-enthusiasm DIY horror shows of the VHS era will recognize certain patent components — the awkward pacing, the amateurish performances, the kitchen-conjured gore effects — and smile in respect. Grins give way to guffaws.

And if you don’t know your “SOV” from “SUV”? Go experience David A. Prior’s Sledgehammer and Christopher Lewis’ Blood Cult — because “watch” is not a strong enough word for it — and get back to me.

The subtitular stepsiblings of Winners Tape All: The Henderson Brothers Story are the slobby Michael and uptight Richard (respectively played by co-writers and Faces of Schlock co-stars Zane Crosby and Josh Lively), being profiled on a public-access cable station in West Virginia. With Chris LaMartina (director of the equally faux and fabulous WNUF Halloween Special) acting as Henry, their No. 1 fan, the newsmagazine reunites the boys, who reminisce about their pioneering ways in the 1980s. In a nutshell, it was inevitable they take a stab at shooting their own slasher movies after renting so many of them in their formative years. Particularly influential was I Piss on Your Guts: “Wanna know what the best part of that movie was? When he pisses on his guts.”

Their big-box career may have been brief, but their efforts live immortal, as we witness via prodigious clips of both Michael’s directorial debut, The Curse of Stabberman, and its sophomore slump of a follow-up, Cannibal Swim Club. Unsurprisingly, these bits combine for much of Winners’ 67 minutes of running time and nearly as many earned laughs. It is more difficult to make authentic “bad” footage than it looks, but director/co-writer Justin Channell (Die and Let Live) possesses just the right touch to have his characters convey earnestness and delusion. In love with its own losers, Winners Tape All starts and finishes as a winner itself. —Rod Lott

Get it at Amazon.

Because we only live once, you may think you shouldn’t deny yourself the opportunity to see what a movie about a genetically mutated rabbit-human hybrid might be like. If that’s the case, you may as well just get it over with now, via Bunny the Killer Thing.

The Finnish film depicts what happens when a writer (Gareth Lawrence) arriving at a remote cabin in the snowy wild for seclusion and inspiration instead is kidnapped and subjected to an injection that turns him into a bunny monster with a murderous streak and an oversized penis. Much to the misfortune of the young party people on holiday nearby, he longs to utilize both.

Expanded from a 2011 short, Bunny the Killer Thing comes courtesy jack-of-all-trades filmmaker Joonas Makkonen. With some two dozen shorts under this directorial belt, he makes his first feature here, which shows in how repetitive the picture quickly becomes as Makkonen struggles to reach a passable running time. His single idea is stretched past the point of breaking. It’s not even that good an idea to begin with — the creature is, yes, but not the misogynist madness exhibited as it hits women and slaps them unconscious with its engorged member, all the while exclaiming either “Pussy!” or “Fresh pussy!” or, one presumes for the sake of coining a culture-penetrative catchphrase, “Who’s gotta bigger digga?”

This infantile approach to splatter comedy squanders Bunny’s initial promise — one that hints at becoming another cult favorite on the level of Dead Snow or Rare Exports. It looks fantastic, yet feels written by two middle schoolers giggling at their own juvenile jokes in the back row of math class. Sorry, Bunny, but you’ve earned no carrot. —Rod Lott

Get it at Amazon.