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.
Four young adult siblings try to fend for themselves after the mysterious death of their parents. But they harbor some dark secrets which include abducting and killing strangers, and ... See full summary »
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.
The Cairn's life seems to be a harmonic family: The father Brad works as a stockbroker, his wife Abby takes care of their common new-born daughter Lily, and the 9-year-old Joshua is high-talented. But the appearances are deceptive. Joshua becomes gradual jealously, that his parents give the baby more attention than him. Therefore he begins to terrorize his family. Written by
The note that Joshua leaves for his father reads: "Dad,/Eaten lunch already/and gone to/The Brooklyn Museum of Art/having fun with Nunu and Lily." If you arrange the first letter of each line in order, it reveals an acrostic for "Death." See more »
The video tape Joshua pulls from the drawer to watch is dated 2/29/1997. 1997 was not a leap year. See more »
completely mis-marketed as an Omen-type horror film, there's a lot more going on in this one than in most of the recent similar scary fare. first things first: there's no supernatural hoo-hah. (ah, so refreshing.) it's an unsettling, strangely plausible horror film... seemingly made especially for parents. a few plot elements bothered me, and i felt there was one misstep (involving a Dave Matthews song, btw!), but overall it was an effective chiller. Vera Farmiga as the increasingly imbalanced mother and Celia Weston as the holy-rolling but genuinely concerned mother-in-law are both excellent, and Sam Rockwell delivers another compelling and subtly idiosyncratic performance. George Ratliff, who directed the engrossing and discomfiting 2001 documentary, Hell House, shows promise as a narrative filmmaker.
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