The Horde (2010)

The Horde (aka La Horde in its native French), which was released on DVD last week, has been receiving a lot of press lately, both favorable and unfavorable. It seems that horror fans are split on this film – either they hated it with a passion or named it as one of their “best of” picks for 2010. Horror films that split the horror community right down the middle always intrigue me. It really makes me marvel at how people’s perspectives can be so different – one person may have called it the best zombie movie of 2010, but another said it was the worst POS he had ever seen. Surely everyone’s opinion is different, but films that cause such a wide divide in the horror community are even more interesting to me. So, of course I had to see The Horde to decide for myself whether it was a bloody good time or just a waste of time.

The Horde is about a group of vigilante cops that decide to take revenge on a group of gangsters that killed a fellow police officer. They storm the gang’s decrepit headquarters, housed inside a ghetto apartment building, but soon discover they are out-manned and out-gunned by the ruthless thugs. As the gang holds them hostage, a whole new dilemma presents itself as masses of fast-moving zombies start amassing outside the building. Now the remaining cops and gang members must work together to escape the hungry hordes of undead.

The Horde will no doubt delight gorehounds with its bloody set-pieces, but it also includes some timely social commentary on race, class, war, loyalty, etc. that will please more cerebral horror fans. As to the big question – whether I loved or hated the film – truth be told The Horde left me lukewarm. On the one hand I loved all the bloody action that exploded on the screen as well as the social commentary, but on the other hand I felt like I had already seen everything the film had to offer in other, perhaps better, zombie movies. After a tense and promising first act the second and third acts were a bit of a let-down. No matter how much blood and grue were tossed at the screen, no matter how many super-fast, super-strong zombies were mowed down by guns, hacked apart by machete or blown apart with grenades I just couldn’t seem to get into the latter part of the film. Maybe I’m just being a jaded horror fan, but it didn’t feel like enough creativity or originality had gone into The Horde, thus making it seem like any other zombie movie.

People might get upset over the “fast zombie” issue, but I thought it actually made the zombies even more frightening. The zombie makeup was also superb, making the zombies look even fiercer. Another complaint has been about the lack of an explanation regarding the zombie outbreak (the only thing we get is a newscast about an “epidemic” and a military safe zone that survivors should try to get to), but I actually appreciated how they kept the action focused on the building’s survivors and didn’t try expand the action to beyond the apartment building’s walls. The lack of explanation kept the action frenetic and immediate (though some of the action did get bogged down by pacing issues). Another part of the story I enjoyed were the ulterior motives of all the characters and how everyone was ultimately looking out for #1 (with a few exceptions). The relationship between two Nigerian brothers was the most intriguing, but I felt that the focus on the bloody action overshadowed the complex relationships in the end. The ending of the film, while not surprising, was satisfying in its somberness.

Though The Horde had its issues, it certainly didn’t qualify it for “worst of” status. There were plenty other horror flicks to claim that title this year. However, it also wasn’t creative enough to warrant it a “best of” nod either, at least not in my book. If you are looking for a gory zombie flick and can overlook the film’s shortcomings discussed above, then by all means check out The Horde. It’s not a perfect horror film, but it’s a pretty good time for what it is.

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Night of the Hunted (1980)

I love Jean Rollin films – usually. Their dreamy imagery contrasted against shocking violence usually makes for a memorable viewing experience (see The Grapes of Death, The Living Dead Girl, etc.). Even the French director’s more subtle and “tame” films, like The Iron Rose) have a certain charm that I find irresistible. However, today I’m sad to report that I’ve found a Rollin film I just couldn’t get into – Night of the Hunted. While it still boasts Rollin’s signature style (the usual gratuitous nudity and gore), I found Hunted to be a disappointing, boring effort.

Elisabeth (porn actress Brigitte Lahaie) stumbles out of the woods onto a darkened road to escape…something. Young Robert (Vincent Gardère) drives by and picks up the disoriented beauty, who has lost her memory and can’t remember what she is running from or even who she is. Robert takes her back to his apartment in Paris, the obligatory “bow-chikka-bow-bow” happens (in a very long scene, I might add) and the next morning Robert leaves her there and goes to work. A man claiming to be Elisabeth’s doctor and his assistant kidnap her and take her back to a hospital housed in a towering skyscraper where she joins other zombie-like people who’ve lost their memories. Elisabeth vows to escape with Robert’s help, but in the meantime other patients start lashing out, with murders and lots of awkward sex occurring.

Sigh. This movie is more like a bad softcore porno than anything else, with not much attention given to other parts of the story. I was extremely bored during most of the film, even fast forwarding through much of it since nothing really happens. Elisabeth and other patients wander around aimlessly, have nervous breakdowns about not remembering anything, are raped by the staff (and one sleazy janitor in particular who has a painfully weird/uncomfortable rape scene) and are experimented on by the doctor running the hospital.

Gone is Rollins’ stylish imagery and replaced by a cold, institutionalized setting. Not even the gore is eye-popping since it is set in such a bland place. Sure, there is tons of nudity (full-frontal, both male and female), but the unattractive cast make it a chore to sit through and the sex feels vanilla, especially for a Rollin’s flick. The film just feels too sterile and constrained by its setting to ever achieve anything truly great and gets bogged down by a lackluster story and slow pace.

Not one of Jean Rollin’s best efforts, Night of the Hunted is only recommended for hardcore Rollin fans…and even then with trepidation.

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7 Days (2010)

7 Days (aka Les 7 Jours du talion) just had its world premiere at 2010’s Sundance Festival and this torture thriller opened to a lot of buzz. I wasn’t expecting much with this film, perhaps just a more artsy version of Saw, but 7 Days explores much more emotional depths with its gritty and melancholy look at vengeance.

Surgeon Bruno Hamel (Claude Legault) and wife Sylvie (Fanny Mallette) have a strong, loving relationship and a cute young daughter named Jasmine (Rose-Marie Coallier). One afternoon, Jasmine goes out to distribute invitations to her upcoming birthday party but never returns home. The frantic parents and police search the nearby neighborhood and soon find the brutalized body of Jasmine, who has been raped and killed. The police soon track down the alleged rapist and killer, Anthony Lemaire (Martin Dubreuil), who has a long rap sheet of sexual offences. Bruno is not satisfied with what the police have in store for Lemaire and after a carefully orchestrated plan kidnaps Lemaire as he is transported by police and takes him to a remote cabin. Bruno tortures Lemaire for the seven days that lead up to the date that would have been his daughter’s ninth birthday. As he slowly wrenches the life out of Lemaire, the police, led by Detective Hervé Mercure (Rémy Girard) who has experienced his own family tragedy, try to stop Bruno from becoming the monster he is trying to kill.

7 Days is certainly an affecting piece of cinema, one that will certainly leave viewers stunned and shaken up. It is not, as I first assumed, Saw for the art crowd. First off, it has a stark and cold gray color palette that sets the somber and grim mood of the film and makes it heartbreakingly beautiful. The direction by Daniel Grou is unsettling and unwavering in its look. For example, there is a truly disturbing shot of the lifeless Jasmine that lingers over every spot of blood and every speck of dirt on her brutalized and broken body. It is one of the most horrifying images of a murdered child I’ve ever seen in a film and it makes the viewer terribly angry and hopelessly sad all at once. Grou also lets the camera linger on the tortured body of Lemaire as well as a dead carcass of a deer, and while some shots are drawn out too long (and frustratingly indulgent), for the most part the demented direction of Grou fits the melancholy mood of the story perfectly.

The story, adapted for the screen by Patrick Senécal and based on his book, is certainly nothing new (a parent who will sacrifice everything to see that the murderer and/or rapist of their family member is appropriately punished), but it is the emotional turmoil of the story that kept me watching. The more and more Bruno tortures Lemaire the more and more he himself is turning into the monster he is so desperately trying to punish. Some of the torture is so harsh (sledgehammer to the knee, whipped with chains, a surgery where Lemaire can feel it all even though he is paralyzed, etc.) that I sometimes found myself starting to sympathize with Lemaire, even though he was a pedophile, rapist and murderer. This conflict is also echoed in Bruno, who begins to struggle with the idea of killing Lemaire. Writer Senécal really makes us think about what is right and what is wrong or if there is just gray area that is better left to one’s own interpretation. And, gosh darn it, I like a film that challenges me to think!

The actor who plays Bruno, Claude Legault, does an awe-inspiring job of portraying the conflict mentioned above. The inner turmoil he faces is brought to light by Legault’s subtle but strong performance. I must also commend Fanny Mallette for playing the heartbroken mother, Sylvie. She did a wonderful job of playing the mourning parent who was still strong when her husband abducted the killer and she had to face the police by herself.

As for the film being billed a “torture thriller”, don’t confuse that with the term I so loathe, “torture porn”. 7 Days is not about being exploitative at all, but rather examining the complex emotions and actions of a victim-turned-potential-killer. It is heavy on the emotional drama, which definitely won’t please some horror fans. As mentioned before, gorehounds looking for a cheap thrill will probably be disappointed. 7 Days aims much higher than your standard exploitative horror film and while I like a challenging horror film, some people simply don’t and will be put off by the film’s art house themes. However, if you are looking for a thought-provoking and cringe-inducing film 7 Days may be right up your alley!

And guess what? You can catch 7 Days on video-on-demand as part of the Sundance Selects VOD rollout! Check your local cable provider for availability.

Vampire Party (2008)

Equally quirky and entertaining, France’s Vampire Party (aka Les Dents de la Nuit or The Teeth of the Night) is a horror spoof that keeps the jokes and action coming fast and furious. What it lacks in gore (there’s really not that much worth mentioning) it definitely makes up for in laughs. Its official synopsis compares it to both Airplane! and Shaun of the Dead, though Vampire Party plays up more of the oblivious comedy of Airplane! than the clever cinematic references of Shaun. While it is never as funny as its influences, this French import is still a very entertaining film that’s worth a look.

Vampire Party tells the tale of three friends, party animal Sam (Patrick Mille), aerobics instructor Alice (Frédérique Bel) and banker-with-a-wild-streak Prune (Julie Fournier), who happen to get their hands on invitations to a very exclusive party that’s gone down in urban legend. The party is so secretive that they are flown to the remote location, an old castle perched on the mountains, by helicopter. There they meet fellow partiers Edouard (Vincent Desagnat), a young but nerdy man, Serge Krinine (Sam Karmann), a “famous” dentist and Jessica Conti (Hélène de Fougerolles), an oblivious socialite. While hundreds of partiers get their groove and drink on, several dozen vampires await in the adjoining V.I.P. room for their leader, Le Duc de Journiac (Tchéky Karyo), to announce the human buffet open. Pretty soon, carnage ensues and the remaining characters must find a way out of the castle before they become a midnight snack.

Vampire Party is a short film, clocking in at less than 80 minutes, so it’s very fast-paced and there is always constant action. The jokes come pretty quick too, one after the other, and while some of them play with genre conventions (there is a reoccurring scene involving the famous scene from Titanic where the two lovers are on the bow of the ship and “on top of the world”) it would be a stretch to call Vampire Party a spoof. Instead, it has the random humor and sight gags of comedies like Airplane!, Young Frankenstein and Blazing Saddles. For instance, after a vampire is vanquished, a character remarks that “the goose is cooked” and in response another character quips something along the lines of “what a strange time to be thinking about food!” The same airheaded character tears up the dance floor with some awful moves before saying about the techno music, “I love reggae!” That is the kind of silly comedy employed by Vampire Party, but even I, one who usually loathes horror comedy unless they are very well done, really enjoyed the film and its off-kilter humor!

First off, the characters are extremely likable, even the slightly odd ones, like the photo-obsessed Edouard and over-eager dentist. The film doesn’t spend a terribly long time on character development, but from the quick introductions you get a feel for all of the characters. It also bears mentioning that the entire cast did a fantastic job and all were believable in their roles. I especially liked the three main actors – Patrick Mille, Frédérique Bel and Julie Fournier – who played Sam, Alice and Prune respectably. They gave us characters to really cheer for! I also must say that I enjoyed the villain as well, played by Tchéky Karyo. His obsession for caring for his hair as opposed to chasing down victims was a fun sight to behold.

Secondly, the film was just fun to look at. From the beautifully illustrated and Fearless Vampire Killers-influenced opening credits to the clever introductions of Sam, Alice and Prune at the beginning of the film to the decadent party at the castle, there was never a dull second. The film also isn’t afraid to break the “fourth wall” and shows a character who uses a sound guy’s boom microphone to fight off a vampire while the film crew looks on incredulously.

My only complaint with the film is that it felt a bit rushed and the ending offered little resolution. Yes, the plot is clichéd, but that is the point of the movie and it shakes things up a bit with its hilarious humor, but I felt that with the ending a.) directors Stephen Cafiero and Vincent Lobelle didn’t know how to vanquish the villains or b.) they wanted to make a sequel. Whatever their intentions, the ending doesn’t quite work and left too many unanswered questions, even for a horror comedy.

Despite that flaw, I found Vampire Party to be a swinging good time and highly recommend you RSVP for this horror-comedy!

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Fear(s) of the Dark (2007)

Fear(s) of the Dark is an animated anthology featuring black and white shorts of varying artistic styles. The result is simply stunning and there is no doubt that fans of animated horror and comic books will dig this amazing French film.

The stories all deal with different kinds of horror, from classic Cronenberg-like body horror to the horrors of growing up and relationships to the overarching theme of the anthology – fear of the unknown.

The film begins with a wrap-around story by Blutch featuring a scary old man dressed in period clothing walking a pack of menacing dogs. Between segments he ambles across the rugged countryside and decrepit city, loosing his dogs on unsuspecting people. This wrap-around segment is just beautiful to look at and is artfully rendered in what looks like charcoal. Out of all the segments, this was my favorite aesthetically. It has such texture and wonderful depth! Plus, the old man is frighteningly and hideously scary!

The style of most of the stories was simple black and white line drawings, so don’t be expecting too much fancy animation (with the exception of the wrap-around story mentioned above). Yet, even though the animation was simple I really enjoyed each and every one of the stories. They were each different, both in style and in narrative. My favorite of the tales was probably the last segment, about a haunted house of sorts, by Richard McGuire. The use of lighting (which was mainly candlelight) here really helped the narrative and created a tense atmosphere. I also loved Charles Burns’ tale of a humanoid insect that burrows under the skin of its captor’s girlfriend. The gaping wounds and body horror associated with the story reminded me much of Cronenberg’s films.

The only portions I wasn’t too fond of were the interspersed segments where people talk about what they fear (both irrational and rational fears) against a background of abstract black and white shapes. These segments just made me feel like I was sitting in on a psychiatrist’s appointments having to listen to people’s strange neuroses! I really feel these took away from the stark beauty of the rest of the stories.

All in all, though, Fear(s) of the Dark is an exciting, unique and beautiful anthology of stories fit for anyone who appreciates animation.

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The Devil's Nightmare (1971)

Another little seen Satanic film from 1971 is The Devil’s Nightmare (La Plus Longue Nuit du Diable) aka Castle of Death aka Nightmare of Terror aka Succubus, etc., etc. Usually only familiar in Euro-sleaze or Euro-horror circles, The Devil’s Nightmare is a surprisingly entertaining flick dripping with gothic atmosphere and surreal scenes.

The film begins during WWII, where the Baron’s wife is giving birth. Upon learning that the babe is a girl and that his wife died in childbirth, he stabs the baby to death. Quite a shocking opening from a 1970’s film!

We then jump ahead a few years, where a reporter is interviewing the Baron in his dark and dreary castle about his family’s past. He seems to think his family is cursed, having made a pact with the Devil centuries ago that states the oldest daughter of each generation must serve the devil by becoming a succubus (and explaining the earlier scene where he killed his daughter). After this illuminating interview, the reporter makes the mistake of tarrying too long taking photographs of the castle and meets a grisly end. We then meet a group of travelers who are forced to take refuge in the Baron’s castle after becoming lost and taking directions from a creepy, corpse-like man. Each of these seven travelers is supposed to represent one of the Seven Deadly Sins (Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride), though some are easier to distinguish than others.

That night, they are introduced to a mysterious visitor (played by stunning redhead Erika Blanc, known for her sleazy Euro-horror roles in films like The Night Evelyn Came Out of the Grave and Kill, Baby… Kill!), who begins to lead each traveler down the road of temptation! Turns out she is a succubus and lures the sinners to their damnation with their specific vices. The only one who doesn’t fall under her decadent-but-deadly spell is the lone priest in the group, but can he stop her and the Devil before all their souls are damned to Hell?

While the story, written by Jean Brismée (who also directed) and Pierre-Claude Garnier, seems like a pretty straightforward allegory inspired by medieval morality tales, it also features a surprising and clever twist ending. I definitely didn’t see the ending coming, and when it actually happened it threw me for a loop! Quite the wicked little surprise that shows you should never make a deal with the Devil! Besides the ending, the story is kept lively by the colorful and sinful characters, keeping the audience rooting for their deaths! There is the annoying married couple, with the sleazy husband who covets other women (Envy) and the distrustful yet rich wife (Greed), a nymphomaniac brunette (Lust), a lazy blonde (Sloth), a holier-than-thou priest (Pride), a cranky old man (Wrath) and a hungry tour guide (Gluttony).

There isn’t much gore to speak of, but some of the ways the travelers are done away with are pretty amusing. The glutton of the group eats himself to death and chokes on poisoned wine (and the close-ups of him stuffing his greasy mouth are probably the most disturbing of the movie) while a greedy woman drowns in a mound of gold. Other kill scenes make little sense and don’t seem to tie into the specific person’s sin (like the Sloth woman dying from snakebite while she sleeps). Still, the scenes of the succubus stalking her prey, with her sunken cheekbones and ghoulish makeup, are always entertaining.

I also enjoyed the Baron’s creepy gothic castle that looked like it was transplanted straight from Transylvania. With its intricate stonework, gaudy Baroque furnishings and rich red drapes, Dracula would have felt right at home! Of course, Satan’s succubus considered it pretty comfy as well.

My only complaints were that the film drags a bit too much in certain parts, especially during some drawn-out lesbian scenes that go on for way too long. Maybe certain guys will enjoy them, but the soft-focus, girl-on-girl action did nothing for me, especially with the ridiculous paisley decorating scheme and the horrible ‘70s music lurking in the background. I also wished that some of the deaths tied more into each traveler’s particular sin instead of running out of ideas halfway through the film and having them die in seemingly random ways.

Though The Devil’s Nightmare certainly has its faults, I was still surprised by the entertainment value it offered. This film isn’t for everyone, but those that appreciate classic Euro-horror will most likely get a kick out of it. If you haven’t seen it, it at least deserves one viewing! It would be a sin not to see it!

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Brotherhood of the Wolf (2001)

A little while ago I lamented the lack of modern-day horror movies filmed as period pieces. It seems that the rich superstitions of the past, coupled with the lack of technology back then, would make period horror flicks a no-brainer. Yet, because I think horror fans are continuously underestimated, the studios keep pumping out horror films that feature a bunch of modern-day teens fighting for their lives against a masked killer. Those kinds of films are all good and fun, but sometimes I want a film that delves deeper and has some history behind it.

Enter Christophe Gans’ 2001 film, The Brotherhood of the Wolf. Based on the true story of the “Beast of Gevaudan” that terrorized the French countryside during the reign of King Louis XV, Brotherhood is an extraordinary film that not only shows us the terror of people that feel completely unprotected and vulnerable to a monster, but also shows us how superstitions, religion, beliefs and lack of technology of that time influence people’s assumptions of just what the beast was. It also manages to mix a straight-up monster tale with a period drama and adds some amazing Kung-Fu action as well!

In the film, the French region of Gevaudan has been terrorized by a wolf-like creature that likes attacking women and children. The beast has eluded any attempts at capture, so King Louis XV sends his naturalist Gregoire de Fronsac (Samuel Le Bihan) to investigate reports of the beast and hopefully aid in killing it. Fronsac is accompanied by his “blood brother” Mani (Mark Dacascos), a Mohawk Indian who rescued Fronsac during the Seven Years War in America.

Through many hunts organized by the nobles of the region, Fronsac tries to discover exactly what the beast is and how it can best be killed. He is startled to discover evidence that proves the beast is not merely a large wolf, but something much more sinister…and that a man might be somehow controlling the creature.
As Fronsac is coming to his conclusions, he also begins to fall in love with Mariane De Morgangias (Emilie Dequenne), daughter in the affluent and influential family. Yet, he continues to visit prostitute Sylvia (Monica Belluci) until Mariane’s brother Jean-Francois (Vincent Cassel) alerts his sister to Fronsac’s infidelity.

With Fronsac being distracted from the hunt for the beast by thoughts of Mariane as well as his unusual findings suggesting that the beast is not a wolf, the King sends in his own lieutenant to dispatch the creature. The lieutenant kills a fairly large wolf and claims it to be the beast to appease the King and then coerces Fronsac to go along with the lie. Defeated in both hunting for the beast as well as in love, Fronsac returns to Paris and the King forbids him from ever returning or speaking of Gevaudan.

When the real beast strikes yet again, Fronsac defies the King’s orders and returns to the region to prepare for one final hunt…but nothing can prepare him for the true horror of what he finds.

Brotherhood of the Wolf is an absolutely stunning film in all respects. From its beautifully-filmed action sequences to the acting to the plot, it is as close to perfect as can be! The first thing I noticed about the film was the jaw-dropping cinematography, by Dan Laustsen. Each and every scene is just beautiful, whether it’s Fronsac inspecting a woman’s body laid out on fallen autumn leaves in the shallow end of a pond or it’s a shot of the tree-covered countryside swathed in snow. The film is just gorgeous! Director Gans certainly has an eye for the dramatic, especially in his exciting action sequences! Whether it was horses racing through the forest or Mani taking on a group of ruffians, the direction by Gans was near flawless and lets us see everything that was happening. I also appreciated how in a few scenes the action was slowed down so we could see it in all its glory! Simply breathtaking!

The story, written by Gans and Stéphane Cabel, was fantastic as well! I really loved how almost all of the characters (with the exception of Mani) actually did exist in real life and how the first third of the film is faithful to true events. The story also isn’t a traditional “werewolf” tale, though it makes short mention of the possibility, instead taking a more intriguing path as to the genesis of the creature. I also enjoyed how it encompassed aspects of different genres like drama, romance, horror, action, martial arts and period piece. This worked marvelously well and made it feel like a more complete story.

The characters were also all fantastic, and we can never be sure who to trust or who to suspect. The intrigue between characters really helped to heighten the tension of the film. The actors all did a phenomenal job of bringing their characters to life, especially considering the large cast! Samuel Le Bihan was stunning as the swashbuckling Fronsac and Vincent Cassel put forth a very memorable performance as the suave yet creepy Jean-Francois De Morgangias. Monica Belluci added a mystical, noble air to her character of the prostitute Sylvia while Emilie Dequenne added some spunk to her innocent character of Mariane De Morgangias. I also enjoyed Mark Dacascos in his physically-demanding role of Mani, especially in his amazing fight sequences!

The action sequences, as I’ve already mentioned time and time again in this review, just left me speechless. Whether it was someone fighting off the beast or Mani fighting a gang of ruffians or Fronsac’s final battle, I just couldn’t rip my eyes away from the screen! And these action-sequences aren’t that far and in-between either…they happen pretty often throughout the film and it’s just a thrill watching every single one of them! The martial arts Kung-Fu action used works surprisingly well in Brotherhood and I think the way these scenes are shot make them an appropriate fit into the context of the film. The glimpses of the beast also work very well, letting us see a bit more as the film progresses, but never quite revealing just what it is until the end of the movie.

I could wax poetic about all the merits of Brotherhood of the Wolf, but for time’s sake I will cut it short! Brotherhood of the Wolf is an exciting, luminous film that left me in awe. I am a sucker for period horror films, and this is certainly one of the best (if it isn’t THE best) I’ve ever seen. It utilizes its setting for optimum effect, using the superstitions of the 18^th century as well as a true story to build its premise, then adding dashes of martial arts action and its own conclusions as to the identity of the beast to round out its awe-inspiring tale. If this review hasn’t convinced you to run out and watch it, let me reiterate by saying – GO! Watch it NOW!

Available from Amazon!

Martyrs (2008)

If you’re a horror fan, you’ve no doubt heard the buzz behind Martyrs, a French film from writer/director Pascal Laugier. Though you may have heard plenty about it, no manner of preparation could ready you for the raw, unpleasant ferocity of this film! If you are looking for a fun horror flick, Martyrs definitely isn’t it. It is a grim, relentlessly violent film that will have you flinching at your own shadow by the time it is through with you.

The film opens with young Lucie, battered, bruised and bloody, escaping her tormentors in a warehouse-type building. She is placed by authorities in a church-run foster home where she meets Anna. The two quickly become inseparable and Lucie confides to Anna that something is still afflicting her.

Fifteen years later, Lucie thinks she’s tracked down her tormentors, a seemingly loving husband and wife who have kids Lucie’s own age. Lucie brutally kills them all, but just can’t seem to appease a disfigured creature that continues to attack and physically harm her. Anna comes to Lucie’s rescue, not sure if Lucie is hallucinating or if what she says is true. But Anna is about to find out the excruciating pain that Lucie went through at the hands of her tormentors and the limits of torture that a body and mind can handle…and the reasons behind it all.

Martyrs is one of those films whose opening scenes will make you feel like you’ve been hit over the head with a baseball bat…and repeatedly pummeled with a sledge hammer. Its brutality is just relentless, and once you think that it can’t get any worse…it shocks you with the next scene. There are countless scenes of violence in Martyrs, most of them cringe-inducing, but the most effective scenes are when Lucie is attacked by the disfigured creature. The first few times we see nothing but shadows and quick movements, but each following scene involving the creature shows a little more and a little more…until we see it in its frightening entirety.

The disturbing images don’t stop at the creature, though (who is really only in the first half of the film). People get blown away by guns, stabbed, scratched, punched, beaten, a throat is slit, wrists are slit, people’s heads are bashed open, thick staples are removed from someone’s head to get rid of a metal blindfold, a person is flayed alive…I could keep going, but you get the idea; Martyrs features some extreme gore!

What I like about the film is that it offers a compelling storyline along with many visceral moments. The intriguing storyline just pulls you in and you want to find out why Lucie was tortured and just why a seemingly normal family would have a secret basement and just who is behind it all and why. It’s not just another exploitative film bombarding us with gore for no reason except to titillate; Martyrs has a very powerful ending that will actually make you think!

I really don’t want to say too much, because Martyrs is a film best experienced by going into it knowing as little as possible. It is a challenging film, both in regards to the violence as well as its message, but overall it is very rewarding to watch. I will say that I did have a problem with how the storyline flips from Lucie’s perspective to Anna’s perspective in the middle. It kind of makes it feel like two separate movies and the switch is a little bit jarring, especially considering that the second half is so much slower and methodical than the first. I even found myself a bit bored, but the beginning and ending of the film more than make up for the lull (you could even call it a chance to catch your breath) in the middle.

Martyrs is a grim, nihilistic film that is a witness to the many great horror films currently coming out of France (though it can’t really be compared to any of them). This is not a fun film and won’t be for everyone, but if you enjoy dark, traumatizing horror stories Martyrs will be right up your alley.

Available from Amazon!

Fan of the Dead (2008)

Fan of the Dead is a travel documentary about Nicolas Garreau, a French fan of George A. Romero’s Living Dead series, who travels to Pennsylvania to unearth the shooting locations used in Romero’s films, including the infamous Monroeville Mall from Dawn of the Dead, the original basement used in Night of the Living Dead, the farmhouse used in Night of the Living Dead 1990, the underground military facility used in Day of the Dead, the cemetery from the original Night of the Living Dead, and many more!

Garreau also filmed his visit to the Pittsburgh Comic Convention, which features interviews with various cast members from the films and fan reactions. Stars from the films even accompany fans to the shooting sites of the mall and the small airport from Dawn of the Dead.

Fan of the Dead is the ultimate fanboy (and girl) film for those that haven’t been able to visit such hallowed sites themselves (and even for those who have to “compare notes” with Garreau). It’s like Fodor’s come to life for horror fans! Fan of the Dead is like if you and your Living Dead fanatic friends filmed yourselves visiting Romero’s stomping grounds…everything is shot via handheld camera with a decidedly “home movie” feel. However, Garreau has so much passion and love for his subject that you quickly forget about the amateur production values and just enjoy the ride alongside the charming Nicolas, who manages to befriend just about everyone on his trip!

One of the best parts in the film is when various cast members from Dawn of the Dead (Ken Foree, David Emge, Machete Zombie – Lenny Lies, Nurse Zombie – Sharon Ceccatti, Helicopter Zombie – Jim Krut, and more!) accompany a small bus load of fans for a walk around Monroeville Mall, pointing out famous (or infamous) shooting locations. Some of the same cast also joined fans for a jaunt around the small airport where the group of survivors stopped to refuel. Hearing the actors talk about filming the movie was just as exciting as watching the joy of the fans! The enthusiasm of both the fans and cast is contagious!

Of course, there were also scenes of just Garreau driving to his next location and speaking heartfelt words about the films he so loves. We also got to hear about the hardships he faced in finding the exact locations and shared his joy when he finally arrived. His trip to the military bunker used in Day of the Dead (it is now used as a warehouse) was pretty neat, as the people that work there still remember when Romero shot there and many were used as extras in his film.

The documentary (though “vacation video” seems more appropriate) did drag in a few places, but with a short running time of 60 minutes it mostly moves at a quick pace. My only big complaint was the horrible voiceover work done. Garreau speaks French most of the time, so his voice was dubbed over with an “actor’s” voice…but this guy delivered his lines so flat and unconvincing that it really detracted from the film. I don’t know why subtitles weren’t used, but if they had it would have made for a much more pleasant viewing experience.

Besides that, Fan of the Dead is a fantastic little film that will delight horror fans! It’s so much fun to see locations used 25 (or more!) years ago and say, “Holy crap! I remember that!!” I wouldn’t be surprised if Fan of the Dead revives tourism in Pennsylvania, because as soon as you see this you’ll definitely want to plan your own terrifying trip to unearth Romero’s Living Dead locations!

Fan of the Dead – Official Site

Frontieres (2007)

After I heard so much buzz about Frontière(s) (aka Frontier(s)), I was eager to check it out. After the recent French filmmaking triumphs of Haute Tension, Them (Ils) and Inside, it seemed destined that Frontière(s) would be another notch in French horror cinema’s belt. Despite the high praise that Frontière(s) has been receiving, I found it a disappointment. It lacks the ingenuity of past French films. Behind the fountains of blood and gore (enough of an endorsement on its own to get some of you to see it) cowers an unbelievable and “been there, done that” story.

With massive riots rocking Paris, a group of friends are on the lam after a robbery. Farid (Chems Dahmani) and Tom (David Saracino) head out of town and into the countryside, while pregnant Yasmine (Karina Testa) and baby daddy Alex (Aurélien Wiik) take Yas’ brother Sami (Adel Bencherif) to the ER after he suffers a gunshot wound. When Sami dies moments later and the cops are hot on their trail, Yas and Alex high-tail it out of town to meet up with Farid and Tom, who are holed up at a hostel deep in the countryside. What they don’t know is that the hostel and the nearby farm are run by a mad old man and his neo-Nazi family. When they discover that Yas is pregnant, their nefarious plans for “pure blood” are focused on her unborn child.

Frontière(s), written and directed by Xavier Gens, uses convenient plot twists and contrived situations that require quite a suspension of belief. Not to mention that we’ve all seen the “crazy cannibalistic family in the countryside” before. Frontière(s) doesn’t really add anything new to this delightful subgenre, which is just fine if you want the comfort of the familiar. If you are looking for something to knock your socks off, though, I’m afraid Frontière(s) won’t do the trick.

The contrived plot turns are probably what annoyed me most about this film. The way things unfold seem awfully convenient…that, or the characters really are dumber than a bag full of rocks. For example, when Yasmine has multiple chances to escape and run far, far away, she always manages to muck it up and get herself caught again. Also, in a brutal scene involving a table saw, the way things unfold (man turns on table saw, man walks away from table saw, man is pushed backward, falls on still-running table saw) seemed too much like a set-up. The scene felt forced, unnatural, unbelievable and in no way surprising. There were ample scenes like this that just made me roll my eyes. Another example would be the anti-climatic use of guns throughout the film, especially in the shoot ‘em up finale. Sure, people get their brains blown out aplenty, but this method of killing just seems too easy and dull for a horror movie.

On the positive end of the spectrum, the film offers plenty of grue – most of which ends up plastered all over one particular character by the end of the film. If you are looking to satiate your blood thirst, Frontière(s) will definitely help you quench it. There are also several nifty death scenes (the saw scene does look cool, even if it feels contrived, and there’s a sadistic steam death sequence that’s pretty gruesome) along with plenty of violence.

The acting is also quite good, with all the actors giving great performances. The backwoods family, featuring three grown daughters, three sons and the evil Nazi Vater (that’s “father” for all you non-German speaking folk), was pretty brutal but intriguing. You just couldn’t wait to see what they would do next. The group of friends caught in the middle each had their own personalities and each character was adequately developed, something that most horror movies woefully forget to do. Karina Testa as Yasmine was the most effective, going from distraught to confused to determined to enraged in a steadily building crescendo of emotions and vengeance.

Still, no amount of good acting or bloody gore could make me fully enjoy this film. There was too much of an incomplete storyline, too many convenient plot developments and too many loose ends the film fails to tie up. Even the beginning of the film, which featured footage of riots, didn’t have any bearing on the rest of the story and the Nazi family’s intentions for “pure blood” weren’t quite explained adequately.

Though I found Frontière(s) to be seriously lacking, I would still recommend it over the heinous American remakes currently being churned out. There is plenty of blood and grue to entertain gorehounds, just don’t expect a cohesive or original story.

Buy it on Amazon!

The Living Dead Girl (1982)

Though I haven’t delved too deeply into Jean Rollin’s filmography, I have found the films of his I have seen to be quite poetic and darkly romantic. The Iron Rose was the first film of his I saw, and it entranced me with its gothic feel and dark poetry. After that, I eagerly sought out his other work, which led me to view The Grapes of Death, a film I found to be rather disappointing.

However, I recently viewed Rollin’s The Living Dead Girl (aka La Morte Vivante), which came highly recommended, and this film did not disappoint. Sticking to a more straightforward storyline and somewhat leaving his slow and hypnotizing filmmaking behind, Rollin brings us a film filled with gore, nudity and an enthralling Living Dead Girl.

The film opens with a couple of workers dumping barrels filled with toxic waste into an old crypt under a castle in the French countryside. While they are down there, they decide to do a little grave robbing as well. As they are prying open the coffin lids of two coffins, an earthquake causes the toxic chemicals to spill everywhere. While one grave robber gets killed by the stuff, another gets his eyes clawed out by the resurrected Catherine Valmont (Francoise Blanchard), who looks as fresh and pretty as the day she died two years ago!

She makes her way back to her castle, though her family is also dead and the place has been put on the market. She kills anyone that gets in her way, including a realtor and her boyfriend who come to the empty castle for some hanky-panky.

When her childhood friend and blood sister Helene (Marina Pierro) discovers Catherine is still alive, she rushes to her aid and vows to never leave her, helping her to kill people when Catherine craves their blood. Even while Helene tries to find a semblance of normality for the two of them, Catherine truly realizes what she is and begins lamenting her current undead condition.

Catherine’s secret becomes further threatened when an American actress photographs her and becomes intent on uncovering her identity.

Living Dead Girl is probably Jean Rollin’s most commercial and accessible film. His signature dream-like atmosphere is more muted in the film (though still present) and the plot moves along rather briskly for a Rollin film. The gore and nudity are also copious and occur often, as do the lesbian undertones (which are present in many of Rollin’s vampire films) between Helene and Catherine.

Catherine’s weapon of choice were her long, curved nails, with which she slashed and stabbed through many victims. Blood splattered, sprayed and streamed over the screen throughout the film. There’s plenty of violence, from a girl getting her stomach repeatedly slashed open to a man on fire. The most impressive gore sequence came towards the end, when someone’s throat is literally ripped out, and it was so prolonged that it made me squirm a little in my seat! There was also plenty of flesh exposed on which to splatter said blood. Gorehounds will delight in many of the blood-letting scenes!

Francoise Blanchard is amazing as Catherine Valmont. Her innocent blue eyes and angelic blond hair contrast nicely with the chaos that surrounds her. She is very much the victim as opposed to the monster in this film, and you really feel for her predicament. Marina Pierro also does a marvelous job as Helene, who just can’t seem to come to grips with what Catherine really is. Her steely resolve to protect her friend and the love she shows toward Catherine are very admirable traits, though near the end you wish she would just come to understand what Catherine is going through. The rest of the acting is respectable, even with the subplot involving the actress stumbling across Catherine’s secret.

Surprisingly, the subplot doesn’t feel unnecessary, but instead adds a bit more depth and drama to the story, written by Rollin and Jacques Ralf. As for the pacing, it moved at a quick clip, something that can’t be said for all of Rollin’s films. There are plot holes (including the freshness of Catherine’s corpse!), but they are easy to overlook when the film is viewed as a whole. I enjoyed how the story never took a decidedly “zombie” or “vampire” stance with Catherine’s resurrection, but straddled the two myths. Catherine is never named as a “zombie” or a “vampire,” but is merely “undead” and marries aspects from both. She drinks blood like a vampire but also stumbles around like a mindless zombie most of the film. In the end, the character works, which is all that really matters. The rest of the story, including Catherine’s mounting angst and Helene’s burgeoning frustration, works nicely with the ensuing chaos and catastrophe of Catherine’s “condition.”

The cinematography, done by Max Monteillet, was also stunning and the vistas used in the film were gorgeous. The Valmont’s castle was outfitted for a king and the surrounding fields and town were vibrant. The leads were beautiful as well, which completed the film’s rich palette. Visually speaking, each scene has something to grab your eye.

If you are looking to explore Jean Rollin’s work, Living Dead Girl is the most accessible place to start. Its straightforward story moves at a brisk pace, the acting is excellent, the gore is out of this world and the leads are beautiful (and you’ll get to see plenty of them throughout the film if you catch my drift). The film follows some genre guidelines (toxic spill awakens the dead) but has a unique spin on the consequences. This Living Dead Girl is no brainless zombie intent only on brains, she is a thinking, rationale being with a strong sense of right and wrong who just happens to be back from the dead…and is a very messy blood-feaster.

Available from Amazon!

The Grapes of Death (1978)

After being introduced to Jean Rollins’ work through the film The Iron Rose, I decided to take a look at a few other of his films. I decided to start his 1978 film The Grapes of Death (aka Les Raisins de la Mort)as the premise, location and promise of gore lured me. The film was said to feature zombies, be set in the vineyards of France and be one of Rollins’ most ooey and gooey horror films.

I didn’t see any zombies or French vineyards, but the gore certainly was present and accounted for!

The film opens with a group of vineyard workers spraying down the rows and rows of sickly grapes with harsh pesticides. Despite the fact that they are all wearing “protective masks” (which are little more than painter’s masks) one man falls violently ill. Meanwhile, a young woman named Elizabeth (Marie-Georges Pascal) is on her way into the region via train. She is going to meet her fiancée at the winery where he works. The same man that fell ill in the vineyards boards her train, kills her friend and attacks her, all the while a large, oozing wound on his face is rapidly spreading.

Elizabeth hightails it into the French countryside, but encounters more people with the same pus-filled sores that try to attack her and anyone else who remains unaffected. The infected are not only violent, but they are also organized and sneaky. Can Elizabeth make her way to her fiancées winery and get help…before it’s too late?

This movie was pretty hit and miss with me. It was touted as a zombie flick, but I think that is a grossly inaccurate description. It wasn’t clear if the infected died and came back as pus-filled atrocities or if they were just sick. Besides stumbling around a little bit, they certainly didn’t act like zombies either, as they could speak and manipulate people. I was also expecting a bit more violence or action, but the movie dragged in many places. I’d say the bulk of the movie featured the heroine running, climbing and walking through the rocky French countryside (no vineyards in sight!).

The best part of the film was the special FX done on the afflicted. The greenish-yellow pus, the raw red sores and the bright red dripping blood reminded me of the over-the-top effects used in Street Trash or Slime City. While The Grapes of Death didn’t use the extreme bright color palate of either of those films, the effect of being grossed out was still achieved!

The signature Jean Rollins style of filming is definitely apparent in The Grapes of Death. The slow, languid shots give the film a dream-like quality, while the small flourishes of close-ups (of eyes, faces, etc.) are evident throughout the film. Visually, the color palate of the film is rather dull, making the colorful seeping sores on the infected pop all that much more.

The story is pretty straightforward and simple, but the ending is pretty powerful and even a bit surprising. I also loved the scenes with the woman in white, who absolutely stole the show!

The Grapes of Death isn’t a film I would recommend everyone see, but for those interested in Jean Rollins filmmaking it is a must-see. As many before me have said, the gore is phenomenal and fun and it pretty much makes an otherwise drawn out movie very enjoyable.

The Grapes of Death pairs excellently with a nice bottle of French Chianti.

Available from Amazon!

Sheitan (2006)

I was just bombarded with the strange and disturbing Sheitan, a horror film from France directed by Kim Chapiron and written by Kim and Christian Chapiron. Sheitan is a shocking, disturbing and crazy film that features some of the oddest and unsettling characters this side of a David Lynch film.

A group of twentysomethings meet the seemingly sweet and innocent Eve (Roxane Mesquida) at a club on Christmas Eve. Eve invites them back to her run-down farmhouse in the French countryside, where her parents are out of town. Once there, they meet the strange housekeeper, Joseph (Vincent Cassel). He and the rest of the countryfolk there seem slightly…off. The kids slowly start to ask themselves, just what is wrong with everyone? Then, one by one, the club kids fall victim to Joseph’s plan, one that involves his pregnant “wife,” their unborn baby and Sheitan, the devil himself.

Sheitan is a very uncomfortable movie to watch. It’s not that it’s a gory or gross-out movie (though the film has its share of gross-outs…how ‘bout that birthing scene?), but that the characters are just so strange and everything feels off-kilter. Joseph spends the entire film leering maniacally, while Eve always seems to be hiding something behind her big, seductive doe eyes. The townsfolk the kids run into are equally weird, giggling amongst themselves at the kids’ expense while “playing” rape in the hot springs (never mind that they are all related). There’s also plenty of nasty violence, incest, sex and devil worship to shock and satiate even the most jaded of viewers.

Though the kids that follow Eve out to the French countryside aren’t all that likable (the guys just want to get laid, they fight amongst each other over girls, one of them is cheating on his girlfriend, and the lone female of the group doesn’t really have a personality) you still feel uneasy for them when things begin to get awkward. When the shit really hits the fan, you’re in a panic, just like the characters. Also like the characters, we as an audience are never quite sure what is going on, but the tension and unease keeps mounting until the disturbing finale.

The acting is exceptionally well-done, especially by Vincent Cassel playing the creepy Joseph, who repeatedly steals the show. His lascivious performance made me feel like I needed a scalding shower after watching Sheitan, but I just couldn’t take my eyes off of him! The other actors did a great job as well, including Roxane Mesquida as Eve and Olivier Bartelemy, Nicolas Le Phat Tan, Leila Bekhti, and Ladj Ly as the club kids in for a hellish holiday!

The only complaint some genre fans might have is that it takes quite a while for something to truly “happen.” During that time, though, I defy you not to be creeped out by Vincent Cassel’s character or the rest of the inbred townsfolk. In my opinion, the film makes up for some slow spots by throwing in some black humor that will have you rolling on the floor when you’re not cringing at the screen!

Sheitan is an absolute nutjob, but I loved every dirty second of it. Its disturbing story, creepy location and, most of all, oddball characters make Sheitan a must-see. While it sounds like a run-of-the-mill slasher (a bunch of horny, attractive kids stuck in isolation somewhere are tracked down by a psycho killer), I assure you it is anything but standard fare. Sheitan will leave you dizzy with disturbance.

Available from Amazon!

13 Tzameti (2005)

13 Tzameti is a startling film from start to finish and feels like a touch of Hostel with obvious film noir influences.

While fixing a man's roof, a poor young man named Sebastien (George Babluani) overhears a conversation about a mysterious job that has a very large pay off. When the man dies, Sebastien chances upon a letter that contains a ticket and instructions for the "job" in question. He seizes the opportunity and follows the instructions to an isolated location, not realizing what he is getting himself into. With cops hot on his trail, Sebastien is thrown into a dark underworld where men bet on the lives of others.

The film is captured in black and white, its starkness echoing the nihilism of the subject matter. The audience is immediately thrust in Sebastien's shoes as we experience everything through him. Like him, we are confused yet intrigued as he follows the detailed directions, only to be terrified at where they land him. Alongside Sebastien we discover the high stakes that this particular "job" entails to win the cash prize.

Writer/director Gela Babluani has created a film that is full of tension, dripping from the screen like the sweat from the brows of the players. Like Sebastien, we know very little in the beginning and things seem pretty normal. The tension begins to mount when he realizes what he has become involved in and from that point on never lets up. Actor George Babluani does a fantastic job portraying his character's many emotions, from desperation to confidence to fear and remorse. Babluani was perfectly cast as Sebastien, evoking both innocence and menace. For a film built on the emotions and reactions of characters, Babluani definitely pulls it off.

The film uses music sparingly, again focusing on the tension created by the characters' emotions and reactions. Without music there to cue emotions, my response to the film was more visceral and realistic. The atmosphere became even more foreboding and tense. The no frills approach to music also matched the simple, straight-forward camera work and the plain black and white it was shot in.

13 Tzameti is definitely NOT another Hostel - there are no T & A shots, no gore and the only torture is mental, but it has similar themes and issues. It deals with the haves and the have-nots, the wealthy looking to spend their money on the next big thrill and the exploited lower classes. I enjoyed this social commentary and was rooting for Sebastien the entire time, even when things got a bit twisty at the end in typical film noir fashion.

The less you know going into this film the better. I had only read a synopsis of 13 Tzameti and watched the trailer, but I still think that gave too much away. The whole atmosphere and mood of the film is much more effective and enjoyable if you go in blind.

13 Tzameti is an intense, gripping and tension-filled film, one that will have you wiping the sweat off your brow as you go along for the ride.

Available on Amazon!

Baby Blood (1990)

Let me just preface this review by saying, pregnancy scares me…having something growing inside of you for nine months is just a little creepy. Forget about maternal instincts, because I’m not sure I have any. I avoid little kids and their destructive paths at all costs and to think about one growing inside of me…ugh! Heebie jeebies all the way…

Baby Blood is a French movie that just about hits on all these fears. Yanka works in the circus as part of the lion’s tamer show. She is also the circus manager’s girlfriend, and he’s not a very pleasant fellow. He abuses her, both emotionally and physically, and she wants nothing more than to leave her life. One day, a leopard is delivered to the circus from Africa, acting agitated and in turn agitating the other lions and tigers (but no bears, oh my!). The other animals start behaving strangely towards Yanka, and a tiger almost attacks her in practice. That night, the lion tamer finds the leopard completely eviscerated, almost as if it burst from the inside out. Something, in fact, was nesting inside the leopard and the snake-looking thing makes a bee-line for Yanka’s trailer. Asleep inside, Yanka doesn’t realize the creature crawling its way under the bed sheets and up inside to her uterus. The next day, Yanka realizes she is pregnant and leaves the circus, moving into a dilapidated building in the city. Whatever is growing inside of her can talk to her and tells her what to do. This baby needs blood, and urges Yanka to kill to feed it. Yanka develops a love/hate relationship with her “child,” and bloodily murders many a stupid man who crosses her path. Yanka steadily grows in girth as the baby inside her develops, heading toward the blood-drenched delivery and aftermath.

This was a very horrifying film with black comedy elements scattered throughout. Emmanuelle Escourrou plays the conflicted Yanka with truthfulness and believability. Her unconventional and voluptuous beauty is just right for the role. The rest of the cast play unlikable, stupid and horny men, all who are indefinitely disposable to Yanka. The story, while not original, works quite well and in no way feels like a rip-off of other horror films. The interactions between Yanka, her baby and the men that enter (and violently leave) her life are all very entertaining and feel very real. Director Alain Roback does a great job capturing the bloody action and adding flair to the proceedings. The look and techniques used throughout the film are very different from the typical horror movie and set the dark tone of the film.

As for the gore, this film delivers geysers of the red stuff! Yanka violently dispatches men with throat slittings, stabbings, decapitations and oodles of blood splatter. There are some very memorable, very bloody scenes throughout the film.

There has been talk of the film’s feminist leanings in regards to how the men are portrayed – boorish, horny, stupid slobs – but while the film can perhaps be viewed as a feminist commentary, it is never heavy-handed in its approach. I will admit that it was quite amusing to see such low-life, scummy men get their balls handed to them on a platter. Call it cinematic catharsis, but men get their just desserts in this film.

Baby Blood is a little known gem of a horror film, one that has finally been given a wider release by lovely Anchor Bay. It is now presented remastered and uncut, therefore some scenes are still in the original French (with English subtitles) instead of being dubbed. The Anchor Bay release is the only one that will do, as I hear the original 1990 US release (released under the title The Evil Within) is hacked to bits and indecipherable from the original film.

If you want a reason to avoid pregnancy and having kids, pop this bloody little piece of film in! You’ll be sure to be disgusted, repulsed and will definitely lay off that baby talk for good!

Available on Amazon!

Man Bites Dog (1992)

Man Bites Dog - A French satire film made in documentary style. A camera crew is following around a serial killer, but soon they become involved in his killings. I was expecting a lot more satire from this film, but most of it falls flat. Perhaps it got lost in translation, but I believe this is just a weak satire. The killings are realistic and frightening in their brutality, but the rest of the film drags and goes no where.

Bottom line: I can appreciate its social commentary and shocking violence, but its artsy pretentiousness got in the way of me liking it.

Check it out on Amazon!