Following in the tradition of iconic Zipper titles STUNTGIRL, SQUEALER, BLACKLIGHT BEAUTY, and FUCK THE WORLD, KILLERS, Jack’s 13th film, has been nominated by both the AVN and XBIZ Awards in a host of key categories, including: Best Picture, Cinematography, Editing, and Best Actor, Best Scene noms for stars SKIN DIAMOND, JOSLYN JAMES, and NACHO VIDAL
Jack thanks all the performers, the awards, and everyone who supports the work, especially the fans.

KILLERS: Warhol meets Skyfall in the sleek new spy thriller from director JacktheZipper

The Review by Gram Ponante


KILLERS, JacktheZipper’s 13th film, is a dark joyride through your baser instincts. A trip that makes getting bumped off look somehow worth it. Because if you have to go, it may as well be alpha predators like Joslyn James, Skin Diamond, Maya Hills, Andy San Dimas and Emily Addison that take you out. A scene by scene deconstruction must surely follow…




Open… Nacho Vidal is about to torture the splendidly pneumatic Joslyn James as she’s bound and stripped naked save for a gilded Lucha mask that disguises her face. If she were wearing a dress, she’d be bursting out of it, but she is not. She is naked and sweating. Sitting, interrogation style, the shafts of amber light give her glistening body an urgent, ‘about to be used’ look.


And ‘about to be used’ she is. Interrogator (Vidal) pulls off the mask, revealing those gorgeous features, and a springy mop of unruly red clown curls. She laughs like a lunatic as he swiftly pulls a clear plastic bag over her head. James is the personification of ‘deranged’ in this scene, and it drives Nacho nuts. You feel how badly he wants to fuck the maniacal laughter right out of her.


An epic and tumultuous power exchange ensues, all electricity, until he drags her off to a decayed, dimly lit washroom. The camera goes black and white. She keeps laughing…


KILLERS is a volatile collection of highly explosive vignettes, each ending in assassination. Zipper says, “even killers needs love”, and in this deadly opus, the lovers deliver in spades.


We briefly meet Eric Swiss’ character at this point, opposite a voiceover from notorious sideshow crossover star,  Murrugun the Mystic, who plays ‘Cowboy’, a low level street dealer that gets in over his head trafficking ‘the Poison’, a lethal super drug that turns rabid users homicidal. It’s never fully spelled out why each character has to die, but Cowboy tosses off salient clues in a series of crisply shot transitions, while adding some grit to the overall atmosphere.




Chiseled newcomer Bruce Venture brutally fucks the plush, Slavic Maya Hills… who, like Joslyn before her, has a body ideally suited to this kind of treatment. She is super absorbent. By the time they’ve finished each other off, someone is dead, and the plot revealed.


Maya, smoking a cigarette, emotionless, speaking to an accomplice over the phone in a thick but perfect Russian accent… her lover/adversary/victim seizing violently behind her, she deadpans, “He is dead. I used the poison.


A traditional folk violin plays merrily in the background as he drains…




Next we meet Skin Diamond and Xander Corvus. When KILLERS was being conceived in 2012, both Corvus and Diamond were on the verge of stardom. Says Jack, “I felt like I was having a 2 year conversation with Skin in my head about this story and this character, Rev… it was beyond satisfying to finally capture the layered performance she gives.


Corvus is like some translucent erotic vampire, brooding and hypnotic, and its obvious here why he would go on to become such an iconic couples performer (Zipper often refers to KILLERS as a “demented couples’ film”, and it makes a lot of sense). Their connection is complex, passionate and violent. When she dispatches him, like some iridescent black widow, it is a magnificent finale. But it’s Corvus’ bloodless nihilism that ends up stealing the show.




Anyone who understands the oeuvre of JacktheZipper might guess that a comparatively vanilla scene between a married couple (played by the ever nubile Andy San Dimas and the stoically lanky Eric Swiss) would lead to a major twist, and that guess would indeed be accurate. San Dimas, who despite her many charms, can pass for a girl who is not in fact a major pornstar, seems genuinely overwhelmed by grief when she must take Swiss out — twice — but in self defense, as the Poison in his bloodstream resurrects his cold and lifeless body off the slab. It’s a vicious attack that catches her by surprise, when he slithers off the morgue tray and appears, seething, right behind her. She survives. But it becomes a frenzied bloodbath… carefully constructed to explode like an incendiary device planted inside the second act. A tragically human piece of acting on San Dimas’ part. Luckily, they had sex one last time…


Andy is the perfect wife experience as she’s lavishly taken, wearing only a wifebeater. Later, she’s in a makeshift lab, wearing thick glasses, hair pulled tightly back, desperately trying to synthesize a cure and save her husband’s life. Her secret criminal, drug slinging hitman husband’s life. It’s the flipside to all the murderous intention driving the other characters. She kills for love. But in this world, only swift and sudden death is inevitable.




Cut to daylight. Emily Addison and Skin Diamond prowl the halls of the historic Alto Nido building in old Hollywood (once home to the Black Dahlia) for this climactic girl girl clash of the titans. Kill or be killed. A cat and mouse game worthy of (post modern) Hitchcock. A pair of ‘to die for’ femme fatales intent on mutual destruction. A murky trail of bad blood going back years between them as subtext. Mistress and disciple. One brandishing a poison vial, the other a gun. Who will win?


For fans of all out sapphic mayhem, this is one for the ages. These two diametrically opposed badasses are well cast. The chase and punishment is sexual and the sex is punishing. All cut up into frantic shards of visual glass and set against a pulsing electronic score, it’s a signature, Zipperesque sequence.




The molecular formula for nitroglycerine. As suddenly as it began, we witness the tragic denouement of James’ and Vidal’s courtship. By this point She looks like the Whore of Babylon by way of the Acid Queen — terrifying and magnetic all at once. To see her wrath inflicted on the likes of a stallion like Nacho Vidal is shocking. Cut. Print. Any last words, speak them now…


Looks like the Spaniard met his match… spider and the fly all the way, baby” says the Cowboy. Before he too dies in a hail of bullets…


KILLERS is a film worth having. For the sex, the substance, and the style. Each scene, if part of some other film, would be worthy of winning awards. As it stands, I would have to nominate Joslyn James and Nacho Vidal, and their fatal tango, for Sex Scene of the Year, and KILLERS for Best Picture. What a ride it was… as I thank the fates that I made it out of the screening room alive.


Gram Ponante is a writer and creator of Porn Valley Observed.

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