Film
ChromeSkull: Laid to Rest 2
- Slasher
- Very dark
ChromeSkull: Laid to Rest 2 is a direct-to-DVD slasher sequel that doubles down on practical gore and claustrophobic brutality. It's a film made for people who want their horror visceral and unjudging, with kills that linger. Expect style over restraint, industrial violence rendered in sickening detail. It's not trying to be art.
If you liked this
Saw II2005
Escalates the trap logic and body horror from the first film while maintaining genuine suspense. Shows how a sequel can deepen the mythology rather than just repeat it.
But The plotting gets convoluted and some kills feel designed purely to shock rather than serve character. Slicker than the original, which loses some of its raw power.

Hostel2006
Another post-2000 slasher that committed entirely to practical effects and unflinching violence. Created a template for body-horror horror that influenced films like ChromeSkull for over a decade.
But The setup—tourists abroad—is thin, and long stretches feel more exploitative than suspenseful. Eli Roth's sensibility isn't for everyone.

Martyrs2008
French extreme horror that uses graphic violence as a genuine philosophical tool. If you appreciate gore that's trying to mean something, this is the reference point.
But It's relentlessly grim and offers no catharsis or humor. Some viewers find it sadistic rather than insightful. Not a fun night in.

Not sure tonight? Get a pick in a minute, starting from ChromeSkull: Laid to Rest 2
The wildcard
Something you would not have found on your own.
Henry: Portrait of a Serial Killer1986
Both treat the killer's violence as banal efficiency rather than spectacle. Henry's video-realism DNA runs directly through the direct-to-DVD horror boom that created ChromeSkull.
The unsettling ancestor of modern found-footage and POV horror. Shot on video like a snuff film, it invented the language of intimate killer cinema that ChromeSkull inherits. Proof that indie horror could be more disturbing than any studio budget.
But It's a student film that looks like one—technically rough, narratively slack. The banality of evil it aims for can read as boredom. Slow, despairing, with no catharsis.

More like this (8)
The Collector2009
A home-invasion slasher with genuinely inventive kills and a killer whose methods feel specific and chilling. Better paced than most direct-to-video horror.
But The plot (thief caught in a madman's house) is familiar. Character development is thin—you're really here for the setpieces.

Laid to Rest2009
The first ChromeSkull film. Introduces the killer and commits fully to practical effects. If you're watching the sequel, you need the origin story to understand what you're seeing.
But Lower budget shows in the pacing and acting. The first act drags before the horror properly kicks in.

Eden Lake2008
Brutal, uncompromising slasher-thriller that doesn't flinch from human cruelty. Proves that indie horror can match studio violence when the craft is there.
But Deeply bleak with a nihilistic ending. No heroes, no justice—just suffering. Can feel gratuitous if you're watching for entertainment.

Frontier(s)2007
French extreme horror that mixes home-invasion terror with historical atrocity. Visual effects are staggering and the tension is suffocating.
But The plot is deliberately difficult to follow. Tone veers between grindhouse and art-horror in ways that might feel confused rather than intentional.

A Perfect Getaway2009
Underrated slasher with a clever mystery wrapped around honest horror violence. Smart plotting and genuine twists make it worth a second watch.
But Genre fans know about it and spoil the reveals. Post-2009 viewers may find the tone dated. Less extreme than you might expect.

Maniac2012
Serial-killer horror shot from the killer's POV. Elijah Wood's quiet intensity carries the film, and the gore is shot with uncomfortable intimacy.
But It's a slog through degradation with no emotional payoff. The gimmick (first-person perspective) wears thin. Not a film that leaves you satisfied.

Videodrome1983
Both are obsessed with media as sickness and the camera as a weapon. ChromeSkull's obsession with documenting his kills echoes Videodrome's nightmare of a snuff-film culture.
Cronenberg's fever-dream about body horror and media violence. If you want gore that's genuinely trippy rather than just gross, this is the masterclass—practical effects and philosophical dread in equal measure.
But It's deliberately disorienting and abstract. The plot dissolves by design. Not a 'watch and forget' slasher—it demands patience and rewards rewatching.

Come True2020
Both use the body as canvas for accumulated horror. Where ChromeSkull is direct trauma, Come True is creeping wrongness—same obsession, opposite approach. Suggests what 'torture horror' might be if it aimed for ambiguity instead of clarity.
A sci-fi horror about a sleep experiment that turns visual and biological in deeply unsettling ways. Proves that practical effects and sound design can create dread without needing a plot. Hypnotic and wrong in ways you won't shake.
But Plot is minimal and deliberately vague. The payoff is abstract rather than satisfying. If you need narrative closure, this will frustrate you.

People
Cast
Brian Austin GreenPreston
Thomas DekkerTommy
Mimi MichaelsJess
Owain YeomanKing
Danielle HarrisSpann
Gail O'GradyNancy
Angelina ArmaniHolland- Brett WagnerTiny
Eric LloydGeeky Worker
Johnathon SchaechAgent Sells
Nick PrincipeChromeSkull
Directing
- Robert HallDirector
- Andrew ShepherdFirst Assistant Director
- José Luis GonzálezScript Supervisor
- Shannon MurraySecond Assistant Director
Writing
- Kevin BocardeWriter
- Robert HallWriter
Production
- Andrew ShepherdAssociate Producer
- Robert HallExecutive Producer
- Chang TsengProducer
- Kevin BocardeProducer