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 contemporary psychological thriller in which a young British couple travelling through the Australian outback become involved with a mysterious and charismatic American whose motive for ... See full summary »
The arrival of a newborn girl causes the gradual disintegration of the Cairn family; particularly for 9-year-old Joshua (Kogan), an eccentric boy whose proper upbringing and refined tastes both take a sinister turn.
After the installation of an alarm system by the twenty-three year old low-class Adam in her fancy upper class apartment, the sophisticated owner Alice invites him to go with her in her boss' "opening house" boring party in the countryside. Adam dates Alice and has a dream night in the fashionable party inclusive having sex with her. While driving back home in a lonely road in the middle of the night, Alice hits a deer and the couple parks the car to remove the wounded animal from the road. However, a van stops and a gang brutally assaults Adam and rapes Alice. One month later, Adam is impotent with Alice, has awful scars in his face and a blind eye and the traumatized Alice returns to her work. However, she is informed that her father has passed away and she travels back to the countryside to visit her father's home. While driving back home, she meets one of her rapist by chance and she discovers where he lives. Alice meets Adam and convinces him to come with her to take revenge ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Is featured in Times Online as one of "The 100 best films of 2007" See more »
When the main characters are driving through the woods after the sex scene, they hit a deer which completely smashes the windscreen. Immediately afterward, there is an attack scene, where she is dragged from the car after the windscreen is entirely smashed through. In a shot of the car, the number plate is hanging off, blood is on the windows and the windscreen is shattered. In the next scene, Danny Dyer is seen turning the alarm in the car off with the number plate attached, no blood or dents on the car and a completely intact windscreen which is almost shinier than before. See more »
This film is dedicated to the memory of TOM GRAFTON 1973-2001 See more »
Reasonable, interesting but somewhat flawed Brit revenge movie
I saw this last night and it kept my attention throughout as well as providing some entertainment, but it is definitely a bit disappointing. The plot is simple, Gillian Anderson picks up Danny Dyer as company for a party, the two are attacked, Anderson is raped and they want revenge. Its a formula premise, used to perfection in some of the finest older exploitation movies, but this doesn't come near to the better known outings in the genre. The writing is what really hurts the film. Though the story, the character development and the general progression of the movie is well done, most of the times any of the characters open their mouths, what comes out just seems really off. Its a shame to see the actors grappling with the stilted lines and they all do their best but much of the dialogue just doesn't work and comes off as lame and irritating. The acting is great for the most part, with Danny Dyer giving the best performance I have seen from him as the initially reluctant Adam and Gillian Anderson is truly superb as the more readily vengeful Alice. In fact her performance is among the greatest acting I have ever seen in a rape revenge based movie. Anthony Calf does well as the instigator of the attack and the rest are decent too. Its just a shame about the dialogue. Dan Reed directs nicely for the most part, there's a grim, depressing but realistic feel to the film and the opening attack is non graphic but suitably harsh. Unfortunately the ending is abrupt and not too satisfying, and while the film is clearly trying to avoid redemption through violence clichés, there is a one gleefully unsubtle and exploitative moment that rather undermines this intention. Altogether the film is well made and probably worth a watch for fans of this sort of thing, presenting as it does a surprisingly intelligent depiction of the trauma that violence causes and the psychologically warping effects of getting into the revenge mindset. However the abundance of clunky lines plus the nastier moments and lack of subtlety stop this from working too well as intelligent stuff, while it doesn't really pass muster as exploitation. Falling between these two stools, its basically a reasonable misfire.
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