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A group of five people working to stay alive in a post-apocalyptic future discover what they think is a safe, abandoned farmhouse, but they soon find themselves fighting to stay alive as a gang of bloodthirsty predators attack.
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.
In THE RISING we follow the story of clone LE-E-003976 (LE-E). On a research mission in the toxic woods of a destroyed environment, he incidentally gets caught in the middle of an upcoming ... See full summary »
After Lexi leaves home to visit Central LA, there's a terrorist attack involving chemical bombs. After the attack, her musician husband, Brad, fails to find her and reluctantly seals himself inside his house. He will have to deal with this decision in the days to come. Written by
Written and Performed by The Glass Plastiks
Produced and Recorded by Robert Shahnazarian, Jr.
Published by Spilling Thought Publishing
Trevor Lissauer (guitar, vocals), Keith Tenenbaum (drums), Barry Whittaker (bass)
Copyright 2003 Happy Frown Records
www.theglassplastiks.com See more »
One of the most realistically conceived post 9/11 disaster flicks shot to date
Quite the solid independent disaster flick, Right at Your Door is a stellar example of making a limited budget work in your favor by effecting us more with two fine actor's insinuations then with huge, mass-extras-driven scenes. Chris Gorak, who has been involved behind the scenes with some modern day classics such as Fight Club and Fear and Loathing in Las Vegas, makes an impressively tense debut at the helm with this fast-paced, very realistic terrorism scenario executed over Los Angeles one day.
From the outset Gorak infuses his survival drama with a tremendously brisk pace, highlighting the confusing and paralyzing fear which would engulf nearly everyone presented with the same scenario. Many parallels can obviously be made to the September 11th attacks as well as Gorak's not-so-subtle criticism of government rescue operations ala Katrina, but everything seems exploited in just the right way as to make the fear actually feel viable as we watch from the safety of our chairs.
The third act does wind things down possibly a little too slowly compared to the full-throttle assault that was the first thirty minutes, although despite lapses in logic now and then I felt the movie represented an honest scenario the best it could up until a poetic, but underdeveloped and gimmicky ending.
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