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.
A blind girl gets a cornea transplant so that she would be able to see again. However, she got more than what she bargained for when she realised she could even see ghosts. And some of ... See full summary »
Oxide Pang Chun,
After losing her unborn child, Madeline Matheson insists on carrying the baby to term. Following the delivery, the child miraculously returns to life with an appetite for human blood. Madeline is faced with a mother's ultimate decision.
A young woman's quest for revenge against the people who kidnapped and tormented her as a child leads her and a friend, who is also a victim of child abuse, on a terrifying journey into a living hell of depravity.
Having escaped her abusive ex-husband Goss, recently released from state prison, Agnes, a lonely waitress with a tragic past moves into a sleazy, rundown motel. Her lesbian co-worker R.C. introduces her to Peter, a peculiar, paranoiac drifter and they begin a tentative romance. However, things aren't always as they appear and Agnes is about to experience a claustrophobic nightmare reality as the bugs begin to arrive... Written by
The title's (mis)translation in Russia is "Glitches" See more »
Throughout all the scenes in the motel where the bathroom is visible, we see that the bathroom door is a regular standard door. But in the scene when Peter is removing a tooth, as he goes to enter the bathroom the door changes into a double louvered door. Then changes back to the regular door in later scenes. See more »
The Exorcist's William Friedkin makes a strong comeback directing Bug, the screen version, adapted by original playwright Tracy Letts, of his off-Broadway powerhouse about trailer trash paranoia that rocked the Village's Barrow Street Theater two years ago. The Barrow Street Bug didn't require any big names or high production values the stage didn't even have a curtain for its startling effects. Twenty dollars got you an evening of strange thinking and unpredictable behavior. The NYTimes called it "the season's wildest ride"; The New Yorker's sketch suggested it was the best play in town. This time there are new faces, all fine, though they couldn't be any better than the original stage cast. Here is Harry Connick Jr. playing Goss, a brute menace and an unwelcome surprise for Agnes (Ashley Judd, replacing Shannon Cochran in the original stage cast). Goss is Agnes' ex, turning up unannounced after two years in stir.
This obviously wasn't a play that needed a lot of opening up. Claustrophobia is one of its most essential elements. Friedkin wisely keeps his film version simple and boxed-in, adding sweaty closeups that show just how intense and brilliant the acting is, and just a couple of shots of other locales.
Agnes resides in a sleazy motel room on the edge of the desert -- which is the play's set -- and works in a bar with her lesbian friend R.C. (Lynn Collins). In the film we get a glimpse of the crowded dive. We also see the motel from outside and above. Agnes, for whom life is an obvious struggle, is tormented by the loss of her little son, who disappeared years ago in a supermarket. Later R.C. brings an odd, seemingly recessive guy named Peter (Michael Shannon) whose gradually emerging story becomes the film's/play's focus. He claims to be a Gulf War veteran. A fifth character is a man who claims to be a doctor, played by Brian F. O'Byrne.
Bug is about process, and the process is Peter's taking over of Agnes' fragile mental and physical world and the destruction of his own in a compulsive, creepy, but somehow exhilarating display of sleazy folie a deux. The insects that he sees everywhere, inside and outside, parallel the contagion of his diseased mind, which sends out invisible tendrils that envelop Agnes. Letts' astonishing dialogue metes out madness in gradually increasing doses. The fun is watching this happen and looking for transitions in the seamless and maniacally clever writing. Friedkin's filming gives a kind of lunar, hallucinatory edge and the action's intensity bursts from the screen. But all in all, nothing could outdo that evening at the Barrow Street Theater. It's surprising that the whole thing works almost as well in a movie, but where it doesn't, you realize that theater has certain powers found nowhere else.
The main US reviewers who check stuff out at Cannes and assess its commercial potential (Hollywood Reporter, Variety) think Bug is a bust. The title seems to remind them of Saw, and they judge this to be at best a cheap horror movie that can draw in an audience only through sensational trailers. That is shortsighted. Bug is horrific, but it's mainly a psychological study, executed with a wildly audacious taste for theatrical surprise and an uncanny ability to calibrate progressive character revelation. Friedkin appears to have returned to his roots here in dealing with a play and handling it with a fine minimalism. It is true certainly that an unsophisticated audience may find Bug disappointing, or too talky. But its real audience is the savvy Barrows Street kind, art house folks not unfamiliar with Beckett, Pinter, or Sam Shepard.
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