Given the viselike pressure of evil and inescapable circumstances, no man knows the depths to which he might scrape in order to preserve his own skin. The Killer Inside (1996), directed by Peter Maris, walks that razor-wire tightrope that separates a homicide resisted from a murder committed. The film also focuses on bigger-than-life issues, such as massively overstuffed surgical breasts and the women who tote them around. Maris explored similar material with his Obsession Kills (1995). He would return to fatalistic themes with big-boob leanings in Warpath (2000), but The Killer Inside is the lynchpin in a career-long study of crime trends buttressed with double-D special effects.