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.
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 »
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 »
Almost skeletal in its simplicity, and misunderstood for it.
Having read the 5 other comments before preparing my own, it seems that not having witnessed either Danny Dyer or Gillian Anderson in a movie role before (or in any role in the case of Dyer) landed me in a better position to appreciate this film. However, not having a petrified heart would appear to have helped also. I enjoyed this film. I'm not saying it was fantastic, but it merited my attention and had something important to say. First and foremost, it was a film designed to challenge the viewer's (in)ability to sympathize with his fellow take as an example the statement made by lenemorissette-1 in the 3rd paragraph of their comment on this film: "Alice isn't the kind of woman who courts sympathy either." Somehow, Alice's conceit, bitterness and dissatisfaction with a materially-satisfactory lifestyle is enough to render her unworthy of sympathy after being raped. And then there's Archie McLaren's IMDb comment on this film, describing how he and the audience laughed through Dyer's assault. This brings us on to why the film appeared to lack characterization - not because of a failing by those responsible for the screenplay, but because by leaving the characters so skeletal, it left them capable of representing a larger demographic. Essentially, Alice and Adam were an attempt to represent as many people as possible. Hipp Dude said in his IMDb comment on this film, "it was brutally real and honest, very un- Hollywood." You don't get fairer than that.
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