Trapped in an isolated gas station by a voracious Splinter parasite that transforms its still living victims into deadly hosts, a young couple and an escaped convict must find a way to work together to survive this primal terror.
Dahlia Williams and her daughter Cecelia move into a rundown apartment on New York's Roosevelt Island. She is currently in the midst of divorce proceedings and the apartment, though near an excellent school for her daughter, is all she can afford. From the time she arrives, there are mysterious occurrences and there is a constant drip from the ceiling in the only bedroom. There are also noises coming from the apartment directly above hers, though it would appear to be vacant. Is the apartment haunted or is there a simpler explanation? Written by
When Dahlia moves her wet clothes from one washing machine to another, you can see the number, "666", pop up for a moment on the second washing machine. That number is known as the symbol of the Anti-Christ. See more »
Near the end of the film, Kyle is carrying a clear plastic container of Ceci's dolls when he enters the elevator. You can see a sock puppet and a pink sheep on the outermost side of the box. When the elevator doors open at the first floor, the contents of the box have changed. See more »
Possibly marketed incorrectly, but still a fantastic film
Before I say anything more, I want to acknowledge that this is not a horror film. I'm not sure if it was even marketed that way, but it is not. It is more drama/psychological thriller. So, before commenting on how it is a bad horror film, please re-evaluate before slandering.
On the film: This is one of my favorite films of the year. The acting by all characters is superb. Connelly plays the character of Dahlia to the tooth. Ariel Gade creates a strikingly, somewhat scary picture of a young Jennifer Connelly. (For now, I will stick with the two main characters) On the story: It is a story about a family being torn apart and the emotional instability of such effects. The supernatural portion of the story adds a feature one can only understand by watching the film. Connelly remarkably recreates scenes of insecurity and the pain of memory and also the pain of sacrifice.
See this film, not only for the characterization created by all of the actors, but for excellent cinematography, emotional depth, and the score (created beautifully by one Angelo Badalamenti). Also, pick up Koji Suzuki and also see the original Japanese film.
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