A sultry blonde serial killer moves into a new apartment and starts to torment her upstairs neighbors. What could have been another standard SOV stalk ‘n slash production is saved by a whimsical sense of humor, a sexy blonde in the lead and musical interludes of fantastic lounge pop supplied by composer Jay Belton. As the story progresses, murderous Isha (Suzi Lorraine) plays mind games with couple Chad (Mike Gingold) and Abby (Isabelle Stephen). Taking advantage of Abby’s mistrust of her boyfriend and Chad’s frustration, she soon separates the two for her own selfish gains and lust for murder and domination. It’s a pretty standard storyline, but it does deliver ample amounts of cleavage courtesy of Suzi Lorraine, interesting camerawork/color schemes during the more violent moments, and a disturbing climax. What could have been a tedious short manages to surpass the usual clichés by not changing much in the storyline, but in its execution and style. Some of the acting, especially from Mike Gingold, is a little stiff and forced, but Suzi Lorraine’s performance is the real standout as she goes about her nasty deeds to some catchy music and an attitude to match.

– Mark Engle

Written by Isabelle Stephen, this short is about Chad (Fangoria's Mike Gingold) and Abby (Troma's Isabelle Stephen) who have a new neighbor, Isha (cult actress Suzi Lorraine) who has the bad habit of seducing then murdering males around the place...

Cold Blonded Murders [was] shot in Montreal within a single day, on March 15th 2003. With special make up and technical effects by artist Rick Trembles, this 18 minutes short also features a special appearance by Steve Requin, of HellShark Cinema, who is seen bound with pantyhose in a bathtub, before being stabbed to death. Original music score [was] composed by talented Jay Belton, which greatly adds to the gruesome and sometimes grotesque situations depicted in this short film.

– Moviemark DVD

"In Belton's dark synth-ballad 'Guilty Pleasures' an overwhelming sense of melancholy comes across in the first synth strains. Songs that deal with pain, loss and helplessness at the hand of AIDS will automatically strike at the heartstrings; but this song deals with the intense theme of survivor guilt. Belton's haunting vocals, beautifully arranged with synth, are almost narcotic. We don't want to turn it off, despite its gnawing at our soul."

– Radio Stonewall