In the wake of two back-to-back mass murders on Chico's frat row, loner Brent Chirino must infiltrate the ranks of a popular fraternity to investigate his twin brother's murder at the hands of the serial killer known as "Motherface."
DUDE BRO PARTY MASSACRE III follows BRENT CHIRINO as he enters the oil-misted halls of the DELTA BI THETA fraternity. Brent isn't just any pledge... he's a legacy. And it's a legacy of death. See, Brent is here to solve the mystery of his identical twin brother BROCK's murder, and he'll do anything to crack the case... even attempt the frat's most daring prank of all time. After the Deltas' senior prank causes two commercial jets to collide over an orphanage, they're punished to a weekend at The Old Sorority House by the Lake. But they're not the only ones there... a mysterious killer named MOTHERFACE lurks nearby. She knows the bros' deepest fears... and she's taking advantage of those fears to pick them off, one by shirtless one, in increasingly gory ways. It's a race against time for Brent to discover the mysteries of his brother's death before Motherface butchers them all!Written by
Derek's line "The flowers, the music, the champagne" is from The Room (2003). Greg Sestero, who delivered the line in the earlier film, delivers it with exactly the same intonation here. See more »
In the credits, "Subtitles" are credited to "HELP THIS IS NOT A JOKE!". During the movie, there are a couple times where an actor is speaking in a foreign-sounding language (fake French), and the subtitles read "Help! I'm trapped in a basement and forced to write subtitles!", and later, "If you're reading these subtitles, tell my wife I love her, and I'm sorry". See more »
Internet culture at its finest (for what that may be worth)
Dudebro is a blatant farce on found footage movies, on straight-to-TV flicks, on horror tropes, etc.
If anyone has seen the shorts made by 5SecondMovies, the company behind this production, they'll know that all the stupid, often terribly executed effects and plot devices are intentional.
It's a chance to revel in the mediocrity of it all, a chance to sit back and laugh at the actors and the genres the film represents as a whole. It's very self aware, and all-the-more moving in it's desire to be nothing more than fun and fancy-free. Something Hollywood should be more willing to capitalize on in an age where cynicism has become a cruise control to cool.
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